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Haitink Conductor Emeritus Bernard |

Seiji Music Director Laureate Ozawa |

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REGISTERED WITr GREEN BUILDING COUNCIL WITH ANTICIPATED LEED :ertification

The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, whi< ' subiect to change without notice. No guarantee is made that said features will be built, or, if built, will be of the same type, size, or nature as depicted or described. No agency has fudged the merits or value, if any, of this property. This is not an offer where registration is required prior to any offer being made. Void where prohibi Table of Contents Week 26

15 BSO NEWS

21 ON DISPLAY IN SYMPHONY HALL

23 BSO MUSIC DIRECTOR JAMES LEVINE

26 THE BOSTON SYMPHONY ORCHESTRA

28 FAREWELL, THANKS, AND ALL BEST: THIS YEAR'S BSO RETIREES

30 THIS WEEK'S PROGRAM

Notes on the Program

33 Wolfgang Amade Mozart

39 Hector Berlioz

53 To Read and Hear More...

Guest Artists

59 Sir Colin Davis

61 Imogen Cooper

65 Matthew Polenzani

67 Tanglewood Festival Chorus

70 PALS Children's Chorus

75 2008-09 SEASON SUMMARY

90 SPONSORS AND DONORS

98 SYMPHONY HALL EXIT PLAN

99 SYMPHONY HALL INFORMATION

THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY HUGH MACDONALD OF WASHINGTON UNIVERSITY IN ST. LOUIS.

program copyright ©2009 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Peter Vanderwarker

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Knowin

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Official Hospital of the Boston Red Sox and Red Sox Nation JAMES LEVINE, MUSIC DIRECTOR RAY AND MARIA STATA MUSIC DIRECTORSHIP, FULLY FUNDED IN PERPETUITY BERNARD HAITINK, CONDUCTOR EMERITUS LACROIX FAMILY FUND, FULLY FUNDED IN PERPETUITY

SEIJI OZAWA, MUSIC DIRECTOR LAUREATE

128th season, 2008-2009

TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, INC.

Edward H. Linde, Chairman Diddy Cullinane, Vice-Chairman Robert P. O'Block, Vice-Chairman •

• Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman Edmund Kelly, Vice-Chairman

Vincent M. O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden Alan Bressler •

Jan Brett Samuel B. Bruskin Paul Buttenwieser Eric D. Collins Cynthia Curme •

• Alan J. Dworsky William R. Elfers • Judy Moss Feingold, ex-officio • Nancy J. Fitzpatrick

Thelma E. Goldberg • Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. Shari Loessberg,

• ex-officio • Carmine A. Martignetti Robert J. Mayer, M.D. • Nathan R. Miller • Richard P. Morse

Aaron J. Nurick, ex-officio • Susan W. Paine • Carol Reich Edward I. Rudman • Hannah H. Schneider

Arthur I. Segel Thomas G. Sternberg Stephen R. Weber • Stephen R. Weiner • Robert C. Winters

LIFE TRUSTEES

Vernon R. Alden Harlan E. Anderson • David B. Arnold, Jr. J. P. Barger Leo L. Beranek •

Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • James F. Cleary • John F. Cogan, Jr.

Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L Doggett Mrs. John H. Fitzpatrick Dean W. Freed

Edna S. Kalman George H. Kidder • George Krupp R. Willis Leith, JrJ Mrs. August R. Meyer •

Mrs. Robert B. Newman William J. Poorvu Irving W. Rabb Peter C. Read • Richard A. Smith

Ray Stata • John Hoyt Stookey • Wilrner J. Thomas, Jr. John L. Thorndike • Dr. Nicholas T Zervas t Deceased

OTHER OFFICERS OF THE CORPORATION

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer •

Suzanne Page, Clerk of the Board

BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA, INC.

Judy Moss Feingold, Chairman • William F. Achtmeyer • NoubarAfeyan • Diane M. Austin •

Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • George W. Berry • Paul Berz •

James L. Bildner Bradley Bloom • Partha Bose • Anne F. Brooke Stephen H. Brown •

Gregory E. Bulger • Joanne Burke Ronald G. Casty • Carol Feinberg Cohen

Susan Bredhoff Cohen Richard F. Connolly, Jr. Charles L. Cooney Ranny Cooper •

James C. Curvey • Mrs. Miguel de Braganca Paul F. Deninger Ronald M. Druker •

Alan Dynner • Ursula Ehret-Dichter • John P. Eustis II • Pamela D. Everhart Joseph F. Fallon

Thomas E. Faust, Jr. • Steven S. Fischman • John F. Fish Lawrence K. Fish • Myrna H. Freedman •

Carol Fulp • Robert Gallery Robert P. Gittens • Carol Henderson Susan Hockfield •

Osbert M. Hood Roger Hunt • William W. Hunt • Valerie Hyman • Ernest Jacquet •

Everett L. Jassy Stephen J. Jerome Darlene Luccio Jordan, Esq. • Paul L. Joskow •

Stephen R. Karp • Douglas A. Kingsley Robert Kleinberg Farla H. Krentzman •

Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Christopher J. Lindop John M. Loder •

Shari Loessberg Edwin N. London Jay Marks Jeffrey E. Marshall • Joseph B. Martin, M.D. •

Thomas McCann Albert Merck • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone •

WEEK 26 TRUSTEES AND OVERSEERS AT HOME OR AT THE BSO,

Experience Highland Meadows Weston

Welcome to a wonderful new community of warmth, charm, and unsurpassed excellence. At

Highland Meadows, the living's as easy as the homes are gorgeous. This is your time - your time for coffee with friends, catching up on your reading, or enjoying a massage after your tennis game.

Highland Meadows makes it easy. No yard work, no snow shoveling, no exterior maintenance - it's all taken care of so you're free to spend time with your friends and family, pursuing the activities you enjoy most. Now that should be music to your ears.

The community Meetinghouse is open for tours daily as of September 28th. Visit our stunning model homes and one-of-a-kind design studio too.

Potential dual master suite I Meetinghouse with full amenities I Har-Tru

tennis court I Hiking trails I 44% of site preserved as woods and meadows

Luxury Living for Active Adults 36 Highland Meadows Lane, Weston, MA 02493 • 781.893.3335 www.highlandmeadowsweston.com WESTON photos by Michael J. Lutch

Robert J. Morrissey • Evelyn Stefansson Nef Robert T. O'Connell • Peter Palandjian •

Diane Patrick • Joseph Patton • Ann M. Philbin May H. Pierce Claudio Pincus Joyce L. Plotkin

• Jonathan Poorvu • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Claire Pryor

• Patrick J. Purcell John Reed Donna M. Riccardi • Dr. Carmichael Roberts • Susan Rothenberg

Alan Rottenberg • Joseph D. Roxe • Kenan Sahin • Gilda Slifka • Christopher Smallhorn •

John C. Smith • Patricia L. Tambone Caroline Taylor • Douglas Thomas • Mark D. Thompson

Samuel Thorne • Albert Togut • Diana Osgood Tottenham Joseph M. Tucci • Robert S. Weil •

• David C. Weinstein • James Westra • Richard Wurtman, M.D. • Patricia Plum Wylde

Dr. Michael Zinner • D. Brooks Zug

OVERSEERS EMERITI

Helaine B. Allen Marjorie Arons-Barron Caroline Dwight Bain • Sandra Bakalar William T Burgin

Mrs. Levin H. Campbell • Earle M. Chiles • Mrs. James C. Collias Joan P. Curhan Phyllis Curtin •

Tamara P. Davis Disque Deane Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian •

Goetz B. Eaton • Harriett Eckstein George Elvin • J. Richard Fennell • Peter H.B. Frelinghuysen •

Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis • Dr. Arthur Gelb • Jordan Golding

Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser Mrs. Richard D. Hill •

Marilyn Brachman Hoffman • Lola Jaffe • Michael Joyce • Martin S. Kaplan Mrs. S. Charles Kasdon >

• Mrs. Gordon F. Kingsley • David I. Kosowsky • Robert K. Kraft • Benjamin H. Lacy

Mrs. William D. Larkin • Frederick H. Lovejoy, Jr. • Diane H. Lupean Mrs. Charles P. Lyman •

Mrs. Harry L. Marks • Joseph C. McNay • John A. Perkins • Daphne Brooks Prout Robert E. Remis

John Ex Rodgers • Mrs. Jerome Rosenfeld • Roger A. Saunders • Lynda Anne Schubert

Mrs. Carl Shapiro • L. Scott Singleton • Charles A. Stakely • Patricia Hansen Strang Paul M. Verrochi

Robert A. Wells • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Mrs. Donald B. Wilson •

Mrs. John J. Wilson

OFFICERS OF THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS

Aaron J. Nurick, President Gerald Dreher, Treasurer • Charles Jack, Executive Vice President,

Administration • Ellen W. Mayo, Executive Vice President, Fundraising • Margery Steinberg, Executive

Vice President, Tanglewood

BOSTON EXECUTIVE BOARD

David Dubinsky, Vice President, Education and Outreach • Audley Fuller, Nominating Chairman

Mary Gregorio, Vice President, Special Projects • Joan Hall, Vice President, Hall Services • Karen Licht,

Vice President, Membership • Rosemary Noren, Vice President, Symphony Shop • Janis Su, Vice

President, Public Relations

TANGLEWOOD EXECUTIVE BOARD

Howard Arkans, Vice Chair, Community Outreach William Ballen, Liaison to Ushers and Programmers,

Nominating Chairman and Secretary • Gus Leibowitz, Vice Chair, Education Wilma Michaels, Vice

President, Tanglewood • Ken Singer, Liaison to Glass House • Alexandra Warshaw, Vice Chair, Membership

WEEK 26 TRUSTEES AND OVERSEERS mWBSt

EILEEN FISHER

THE MALL AT CHESTNUT HILL 617.964.5200 COPLEY PLACE 617.536.6800

53 CENTRAL STREET, WELLESLEY 781 .235.2065 DERBY STREET SHOPPES, HINGHAM 781 .740.4140 EILEENFISHER.COM Administration

Mark Volpe, Managing Director, Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity

Anthony Fogg, Artistic Administrator

Marion Gardner-Saxe, Director of Human Resources

Ellen Highstein, Director of Tanglewood Music Center, Tanglewood Music Center Directorship endowed in honor of Edward H. Linde by Alan S. Bressler and Edward I. Rudman

Bernadette M. Horgan, Director of Public Relations

Thomas D. May, Chief Financial Officer

Kim Noltemy, Director of Sales, Marketing, and Communications

Bart Reidy, Acting Director of Development

Elizabeth P. Roberts, Campaign Director/Director of Individual Giving

Ray F. Wellbaum, Orchestra Manager

ADMINISTRATIVE STAFF/ARTISTIC

Bridget P. Carr, Senior Archivist, Position endowed by Caroline Dwight Bain • Vincenzo Natale,

Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration •

Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator

ADMINISTRATIVE STAFF/PRODUCTION

Christopher W. Ruigomez, Director of Concert Operations

H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Deborah De Laurell,

Assistant Chorus Manager • Jake Moerschel, Assistant Stage Manager • Leah Monder, Production

Manager • John Morin, Stage Technician Mark C. Rawson, Stage Technician Mark B. Rulison,

Chorus Manager • Leslie D. Scott, Concert Operations Administrator

BOSTON POPS

Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator Margo Saulnier, Assistant Director of Artistic

Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting • Joseph Senna, Director of Investments Pam Wells, Controller

Mimi Do, Budget Manager Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Chief Financial Officer Karen Guy, Accounts Payable Supervisor • David Kelts, Staff Accountant •

Minnie Kwon, Payroll Associate • John O'Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable

Assistant • Harriet Prout, Accounting Manager • Michael Shea, Cash Accountant • Teresa Wang, Staff

Accountant • Audrey Wood, Senior Investment Accountant

WEEK 26 ADMINISTRATION EMC2 where information lives*

EMC is proud to support the Boston Symphony Orchestra.

The global icon of artistic virtuosity known as the Boston Symphony Orchestra is also the world's largest

orchestral organization. The BSO understands the critical role information plays in its business, and

turns to information infrastructure solutions from EMC to help keep its intricate operations a miracle

of performance. We're proud to help the BSO bring the power of information to life— information that illuminates what's possible and that can move the world forward.

Learn more at www.EMC.com.

EMC, EMC, and where information lives are registered trademarks of EMC Corporation. All other trademarks used herein are the property of their respective owners. © Copyright 2008 EMC Corporation. All rights reserved. DEVELOPMENT

Alexandra Fuchs, Director of Annual Funds and Stewardship • Nina Jung, Director of Development

Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations •

Mia Schultz, Director of Development and Campaign Administration • George Triantaris, Director of Principal and Planned Giving

Amanda Aldi, Data Projects Coordinator • Stephanie Baker, Campaign Manager • Emily Borababy,

Assistant Manager of Development Communications • Dulce Maria de Borbon, Beranek Room Hostess

Cullen E. Bouvier, Stewardship Officer Diane Cataudella, Associate Director of Stewardship • Joseph Chart,

Senior Major Gifts Officer • Kerri Cleghorn, Associate Director, Business Partners Allison Cooley,

Associate Director of Society Giving • Marcy Bouley Eckel, Stewardship Officer Laura Frye, Assistant

Manager of Society Giving • Emily Gonzalez, Donor Information and Data Coordinator David Grant,

Manager of Gift Processing and Operations • Laura Hahn, Annual Fund Projects Coordinator

Barbara Hanson, Major Gifts Officer Joseph Heitz, Grant Writer • Emily Horsford, Assistant Manager of Friends Membership Sabrina Karpe, Friends Membership Coordinator • Andrea Katz, Assistant

• Manager, Development Special Events • Angela Kaul, Assistant Manager of Planned Giving

Elizabeth Murphy, Senior Major Gifts Officer • Jill Ng, Senior Major Gifts Officer • Madge Nimocks,

Development Communications Writer • Jennifer Raymond, Associate Director, Friends Membership •

Mark Reach, Planned Giving Advisor • Emily Reeves, Major Gifts Coordinator • Jennifer Roosa, Director of Development Research Amanda Roosevelt, Major Gifts Coordinator Joyce M. Serwitz, Major Gifts and Campaign Advisor • Alexandria Sieja, Special Events Coordinator Yong-Hee Silver, Major Gifts

Officer • Kenny Smith, Acknowledgment and Gift Processing Coordinator • Mary E. Thomson, Associate

Director of Development Corporate Events

EDUCATION AND COMMUNITY PROGRAMS

Myran Parker-Brass, Director of Education and Community Programs

Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and

Community Programs Emilio Gonzalez, Manager of Curriculum Research and Development

Cerise Sutton, Associate Director, Education and Community Programs • Darlene White, Manager, Berkshire Education and Community Programs

EVENT SERVICES

Cheryl Silvia Lopes, Director of Event Services

Tony Bennett, Cafe Supervisor/Pops Service Staff Manager • Kristin Jacobson, Senior Sales Manager

Sean Lewis, Assistant to the Director of Event Services Cesar Lima, Assistant Food and Beverage

Manager • Kyle Ronayne, Food and Beverage Manager • Erin Smith, Special Events Sales Manager • James Sorrentino, Bar Manager

FACILITIES

C. Mark Cataudella, Director of Facilities symphony hall operations Christopher Hayden, Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Michael Finlan, Switchboard Supervisor Judith Melly, Facilities Coordinator Shawn Wilder,

Mailroom Clerk maintenance services Jim Boudreau, Electrician • Charles F. Cassell, Jr., HVAC •

Francis Castillo, Upholsterer • Dwight Caufield, HVAC • Thomas Davenport, Carpenter

Michael Frazier, Carpenter Paul Giaimo, Electrician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian

Desmond Boland • Julien Buckmire • Claudia Ramirez Calmo • Angelo Flores Gaho Boniface Wahi tanglewood operations David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires

Ronald T Brouker, Supervisor of Tanglewood Crew Robert Lahart, Electrician •

Peter Socha, Carpenter • Robert Casey • Stephen Curley Richard Drumm • Bruce Huber

WEEK 26 ADMINISTRATION 11 ATLANTIC TI^UST

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This ad is not to be construed as an offer to buy or sell any financial instruments. HUMAN RESOURCES

Susan Olson, Human Resources Recruiter • Heather Mullin, Human Resources Manager • Kathleen Sambuco, Benefits Manager

INFORMATION TECHNOLOGY

David W. Woodall, Director of Information Technology

Guy W. Brandenstein, User Support Specialist Andrew Cordero, Manager of User Support •

Timothy James, Senior Business Systems Analyst • David Tucker, Infrastructure Systems Manager

Brian Van Sickle, User Support Specialist

PUBLIC RELATIONS

Kathleen Drohan, Associate Director of Public Relations • Taryn Lott, Public Relations Coordinator • Michael Wood, Public Relations Associate

PUBLICATIONS

Marc Mandel, Director of Program Publications

Robert Kirzinger, Publications Associate Eleanor Hayes McGourty, Publications Coordinator/

Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales

Alyson Bristol, Director of Corporate Sponsorships • Sid Guidicianne, Front of House Manager •

James Jackson, Call Center Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood •

Sarah L. Manoog, Director of Marketing Programs Michael Miller, Director of Ticketing

Megan Bohrer, Group Sales Coordinator • Gretchen Borzi, Marketing Production Manager •

Rich Bradway, Associate Director of E-Commerce and New Media Samuel Brewer, SymphonyCharge

Representative • Allegra Brooke, Corporate Sponsorship Coordinator • Lenore Camassar, Associate

Manager, SymphonyCharge • Theresa Condito, Access Services Administrator/Subscriptions Associate •

Susan Coombs, SymphonyCharge Coordinator • Paul Ginocchio, Manager, Symphony Shop and

Tanglewood Glass House • Erin Glennon, Graphic Designer Randie Harmon, Customer Service and

Special Projects Manager • Matthew Heck, Marketing Projects Coordinator Michele Lubowsky,

Associate Subscriptions Manager • Jason Lyon, Group Sales Manager • Laura Maas, Merchandising

Assistant • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge

Representative • Michael Moore, E-Commerce Marketing Analyst • Clint Reeves, Graphic Designer

Doreen Reis, Marketing Coordinator for Advertising • Mario Rossi, Subscriptions Associate

Andrew Russell, Senior Manager, Corporate Sponsorships • Laura Schneider, Web Content Editor

Robert Sistare, Subscriptions Representative • Kevin Toler, Art Director Himanshu Vakil, Web

Application Lead • Stacy Whalen-Kelley, Manager, Corporate Sponsor Relations

box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager •

Dominic Margaglione, Donor Ticketing Representative

box office representatives Mary J. Broussard • Cary Eyges • Mark Linehan • Arthur Ryan

TANGLEWOOD MUSIC CENTER

Rachel Ciprotti, Coordinator • Karen Leopardi, Associate Director for Faculty and Guest Artists •

Michael Nock, Associate Director for Student Affairs • Gary Wallen, Manager of Production and Scheduling

VOLUNTEER OFFICE

Kris DeGraw Danna, Associate Director of Volunteers • Sabine Chouljian, Assistant Manager for Volunteer Services

WEEK 26 ADMINISTRATION 13 f

Bracelets and-rings in silver.

Boston

320 Boylston Street

(617)482-8707 -

Hermes.com ^> BSO News

An Evening with the Boston Symphony Chamber Players

Thursday, May 7, at the Fairmont Copley Plaza

On Thursday evening, May 7, the Fairmont Copley Plaza, the Official Hotel of the BSO, presents "An Evening with the Boston Symphony Chamber Players," beginning at 7 p.m.

with a prix fixe dinner in the hotel's Venetian Room, followed by a one-hour Boston Sym-

phony Chamber Players performance, in the hotel's landmark Oval Room, of music by Mozart, Brahms, Andre Previn, and the late American composer George Perle. The ensem- ble will include BSO principals Malcolm Lowe, Steven Ansell, Edwin Barker, William R.

Hudgins, John Ferrillo, and Richard Svoboda, with guest pianist Randall Hodgkinson.

Considered one of the most beautiful rooms in Boston, the Oval Room was originally the

hotel's main dining room when the Copley Plaza opened in 1912. In the 1930s, the Oval

Room hosted tea dances, evolving into Boston's premier supper club in the '40s and '50s, headlined by such popular artists as Lena Home, Vic Damone, Rudy Vallee, the incompara- ble Hildegarde, and Tony Bennett. "An Evening with the Boston Symphony Chamber Players"

will be one of the rare occasions in the last fifty years that the Oval Room has been used

for a live public musical performance.

Tickets to this special evening are $95 per person, exclusive of wine and gratuity. To book

your reservation, call Nikki Penikas, Catering Sales Coordinator at the Fairmont Copley

Plaza, at (617) 267-5300, ext. 1075. For more information about the event, please call Allegra Brooke, the BSO's Corporate Sponsorships Coordinator, at (617) 638-9270.

One Day University at Tanglewood

This summer, the BSO is proud to partner with One Day University to present One Day

University at Tanglewood on Sunday, August 23. One Day University is an adult educational series that brings together acclaimed professors from Ivy League and other top-tier schools

to create a stimulating day of college in host locations across the country. Lectures include the latest on liberal arts thinking, with topics ranging from history, psychology, and philoso- phy to political science and literature.

One Day University at Tanglewood will take place on Sunday, August 23, from 9 a.m. to

4:30 p.m., including lectures in Ozawa Hall by Yale University's Paul Bloom (You Call That Art? Understanding Why We Like What We Like), Harvard University's Shawn Achor (Positive Psychology and the Science of Happiness), and Harvard's Professor of Music Thomas Kelly

(Beethoven's Ninth—The Story of a Masterpiece). Following lunch in the Hawthorne Tent, the

day will conclude with the BSO's 2:30 p.m. concert in the Koussevitzky Music Shed, led by

WEEK 26 BSO NEWS "

BM IttMMr H Hs9" rS^v^r "New England Coffee the moment is delighted to be the

Official Coffee of the Boston Symphony

Orchestra and the

Boston Pops.

As a family-owned

business for over

90 years, we share

a commitment to

quality and tradition that the BSO has

championed for over

125 years. With

these common values and a dedication

to quality,

we invite you 41

to enjoy tonight's performance.

' Jim Kaloyanides President and COO of new England Coffee

greeAl^ffround NET? ENGLAND COFFEE

/**#'«" Michael Tilson Thomas and featuring the Tanglewood Festival Chorus: Charles Ives's Thanksgiving and Forefathers' Day for chorus and orchestra and Beethoven's Symphony No. 9.

Registration for One Day University at Tanglewood is $299 per person, including continen- tal breakfast and lunch, three 70-minute lectures with interactive Q&A, and a ticket (in Shed sections 17-20) to the BSO concert. For more information or to book your registration by phone, call 1-800-663-3298, or register online at www.onedayu.com/tanglewood.

Tanglewood 2009

Tickets for the 2009 Tanglewood season are now on sale. Marking his fifth summer as the BSO's music director, James Levine leads the BSO in eight programs, including an all-

Tchaikovsky season-opener, Brahms's German Requiem, Mozart's last three symphonies in a single concert, Mahler's Symphony No. 6; a program pairing the Brahms Violin Concerto, featuring Christian Tetzlaff, with Stravinsky's Rite of Spring; and a pairing of programmatic showpieces, Mussorgsky's Pictures at an Exhibition and Berlioz's Harold in Italy, the latter featuring BSO principal violist Steven Ansell. Mr. Levine also leads the Tanglewood Music

Center Orchestra in a concert performance of Wagner's Die Meistersinger von Numberg, Act

III, with a roster of celebrated vocalists, and a fully staged TMC production of Mozart's Don Giovanni. Other highlights of the season include Boston Pops concerts conducted by Keith Lockhart and John Williams, who also leads the popular annual Film Night; birthday cele- brations for James Galway's 70th, Rafael Fruhbeck de Burgos's 75th, and Andre Previn's 80th; Michael Tilson Thomas's much-anticipated return to Tanglewood, and two Mark Morris Dance Company world premieres. The summer also includes weeknight recital and chamber performances by internationally acclaimed soloists and ensembles in Seiji Ozawa Hall; a special weekend with James Taylor; special appearances by Tony Bennett and Diana

Krall; the annual Labor Day weekend Jazz Festival, and a full calendar of activities by the young musicians of the Tanglewood Music Center. Tickets are available through tangle- wood. org and SymphonyCharge at 1-888-266-1200. For complete program information, ticket prices, and more, please visit tanglewood.org. To request a season brochure, please e-mail [email protected] or call the Boston Symphony Orchestra at (617) 266-

1492. Bank of America is proud to serve as the exclusive season sponsor of Tanglewood.

"Symphony+": A New Series of Pre- and Post-Concert Events

Earlier this season, the Boston Symphony Orchestra launched "Symphony+"—a series of pre- and post-concert events connecting BSO concerts at Symphony Hall to literature, food, and the performing and visual arts. This season's remaining events, free to ticket-holders for this week's BSO concerts, are post-concert receptions honoring this year's three BSO retirees— harpist Ann Hobson Pilot, violinist Amnon Levy, and violist Ronald Wilkison— on

Thursday, Friday, and Saturday, April 30, May 1, and May 2, in Higginson Hall. Ticket-holders are notified by mail as events are added to the schedule throughout the BSO season; an updated schedule with details of each event is available at bso.org, at the box office, or by calling SymphonyCharge at (617) 266-1200 or 1-888-266-1200.

Pre- Concert Talks

Pre-Concert Talks available free of charge to BSO ticket holders precede all Boston Sym- phony subscription concerts, starting at 6:45 p.m. prior to evening concerts, 12:15 p.m. prior to Friday-afternoon concerts, and one hour before the start of morning and evening Open Rehearsals. Given by a variety of distinguished speakers from Boston's musical com-

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munity, these informative half-hour talks include recorded examples from the music being performed. This week, the final week of the BSO's 2008-09 subscription season, Hugh

Macdonald of Washington University in St. Louis discusses Mozart and Berlioz. The BSO's Pre-Concert Talks are supported by New England Coffee.

INDIVIDUAL TICKETS ARE ON SALE FOR ALL CONCERTS IN THE BSO'S 2008-2009 SEASON. FOR SPECIFIC INFORMATION ON PURCHASING TICKETS BY PHONE, ONLINE, BY MAIL, OR IN PERSON AT THE SYMPHONY HALL BOX OFFICE, PLEASE SEE PAGE 99 OF THIS PROGRAM BOOK.

Become a Friend of the BSO cert of the season on Friday, May 2, at 7:30

p.m. at St. Paul's Church, 15 St. Paul Street in Did you know that for $75, you can become Brookline. The program will include Bernhard a Friend of the BSO and receive our monthly Crusell's Quartet for Clarinet and String Trio, online newsletter, InTune? InTune provides Poulenc's Sonata for Clarinet and Bassoon, an insider's view of life at the BSO as well as Jennifer Higdon's Dork Wood for bassoon advance announcements about special Friends and piano trio, and Faure's Piano Quartet in activities. Other benefits of membership, C minor, Op. 15. Admission is $15 ($5 for depending on giving level, include invitations students and seniors). For more information, to upcoming first-time events designed to please visit www.montagemusicsociety.org. give Friends an opportunity to engage first- hand with BSO musicians. Next month, Friends of the Pops have the opportunity to get an The Information Table: exclusive glimpse into the Pops' magical music- A Great Resource for making on Thursday, May 14, with a working What's Happening at the BSO rehearsal (featuring baseball-themed music Please stop by the information table in the from the Pops' just-released "Red Sox Album") Peter & Anne Brooke Corridor on the Massa- and reception. On June 5, Fiedler Society chusetts Avenue side of Symphony Hall members are invited to a festive reception (orchestra level). There you will find the lat- preceding the Pops' annual Arthur Fiedler est performance, membership, and Symphony Concert. Cocktails with Keith Lockhart, on Hall information, provided by knowledgeable Wednesday, June 10, precede that evening's members of the Boston Symphony Association concert, which features Linda Eder singing of Volunteers. The BSO Information Table is songs made famous by Judy Garland. The staffed before each concert and during inter- Pops season's grand finale is celebrated on mission. Friday, July 3, with a cruise and preview of the July 4 Esplanade concert. To learn more about these and other upcoming Friends Comings and Goings . . events, please contact the Friends Office at Please note that latecomers will be seated (617) 638-9276 or e-mail FriendsoftheBSO by the patron service staff during the first @bso.org. If you are already a Friend of the convenient pause in the program. In addition, Boston Symphony and are not receiving your please also note that patrons who leave the monthly issue of InTune, please let us know hall during the performance will not be by e-mailing [email protected]. allowed to reenter until the next convenient

pause in the program, so as not to disturb the BSO Members in Concert performers or other audience members while

the concert is in progress. We thank you for BSO Assistant Personnel Manager Bruce your cooperation in this matter Creditor performs as clarinetist with the

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ON DISPLAY IN SYMPHONY HALL

This season's BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, displays the breadth and depth of the Archives' holdings so as to document the many facets of the orchestra's history. Highlights of this year's exhibit include a display case that explores the origin of the Symphony Hall statues

(first balcony, audience-right, near the stage); a case devoted to a newly acquired col- lection of pen and wash sketches by Donald C. Greason depicting BSO musicians at

work from 1938 through 1940 (first balcony, audience-right, near the Cabot-Cahners Room); and new exhibit content focusing on the history of the Tanglewood Festival Chorus and the history of BSO Youth Concerts at Symphony Hall (orchestra level, Huntington Avenue corridor).

SPECIAL FOCUS EXHIBIT

Ann Hobson Pilot: A Harpist's Journey

Ann Hobson Pilot's extraordinary forty-year career with the BSO began when she was appointed assistant principal harp in 1969; she was elevated to principal harp by Seiji Ozawa in 1980. With her retirement scheduled for the end of the 2009 Tanglewood season, Ms. Hobson Pilot has generously made available, from her personal collection of memorabilia, a selection of materials currently on display in the Massachusetts Avenue corridor on the orchestra level of Symphony Hall. In addition, a supplemen- tary exhibit panel entitled "BSO Harpists of Note" explores the history of the BSO's harp section.

ALSO ON DISPLAY, IN THE CABOT-CAHNERS ROOM: "Carter's Century—An Exhibit Celebrating the Life and Music of Elliott Carter"

To commemorate the iooth-birthday year of Elliott Carter, one of America's greatest

composers (his 100th birthday was December 11, 2008), the BSO Archives has

mounted an exhibit celebrating Mr. Carter's life and music. The exhibit includes

reproductions of more than 75 photographs, letters, and manuscript scores from Mr. Carter's personal collection and from the Elliott Carter Collection located at the Paul

Sacher Foundation in Basel, Switzerland. The Boston Symphony Orchestra is grateful

to the Paul Sacher Foundation, Basel, for its generous support of this exhibition.

TOP OF PAGE, LEFT TO RIGHT:

Sketch by Donald C. Greason of a BSO musician, c.1940 (BSO Archives)

Elliott Carter at the piano (undated photograph by Rudolph Burckhardt; courtesy Elliott Carter)

Ann Hobson Pilot as a teenager (photographer unknown; courtesy Ann Hobson Pilot)

WEEK 26 ON DISPLAY 21 BHTratsKuMWm

SMUh ONE o NE DAY UNIVERSITY" DAY UNIVERSITY at Tanglewood

ART. HAPPINESS. BEETHOVEN (twice!). M& at jJSxTanglewood Sunday, August 23, 2009 EVENT SCHEDULE Join three of the finest professors from Harvard for AUGUST 23rd and Yale for a stimulating day of presentations in 8:30-9:00 am Ozawa Hall and the Boston Symphony Orchestra, Check-in & Continental Breakfast conducted by Michael Tilson Thomas, in its traditional 9:00-10:10 am Tanglewood season finale, Beethoven's Symphony No. 9. PAUL BLOOM, Yale Ozawa Hall 10:10-10:30 am Break You Call That Art? 10:30-11:40 am Understanding Why We Like What We Like SHAWN ACHOR, Harvard PAUL BLOOM Yale Ozawa Hall Is culture learned or, as Professor Bloom suggests, 11:40-12:00 pm something that's hard-wired into our brains? Come Break learn why you like that certain painting so much. 12:00-1:10 pm THOMAS KELLY, Harvard Ozawa Hall Positive Psychology and the Science of Happiness 1:10-2:20 pm SHAWN ACHOR Harvard Lunch Why are Americans so glum? Explore the latest scientific Hawthorne Tent research from academia on how the way we live can make 2:30-4:30 pm us happy, humorous, and healthy—or just the opposite. BOSTON SYMPHONY ORCHESTRA Koussevitzky Music Shed Beethoven's Ninth—The Story of a Masterpiece THOMAS KELLY Harvard Come revel in the incredible story of the world's GENERAL most popular piece of classical music, and Beethoven's REGISTRATION triumphant message of universal brotherhood and joy. $299 BOSTON SYMPHONY ORCHESTRA includes lectures, breakfast, IVES Thanksgiving and Forefathers' Day, lunch, and Section (1) for chorus and orchestra 17-20 Shed Ticket BEETHOVEN Symphony No. 9 call ODU Michael Tilson Thomas, conductor Erin Wall, soprano now to reserve Kendall Gladen, mezzo-soprano your ticket: Stuart Skelton, tenor Raymond Aceto, bass-baritone 800-663-3298 Tanglewood Festival Chorus John Oliver, conductor

Tanglewood is a registered service mark of the Boston Symphony Orchestra, Inc. James Levine

Now in his fifth season as Music Director of the Boston Symphony Orchestra, James Levine is the BSO's 14th music director since the orchestra's founding in 1881 and the first American- born conductor to hold that position. Highlights of Maestro Levine's 2008-09 BSO programs

(three of which again go to Carnegie Hall) include an Opening Night all-Russian program; the world premieres of BSO 125th anniversary commissions by Leon Kirchner and Gunther

Schuller and of a new work for piano and orchestra by Elliott Carter (the latter to be intro- duced in Boston, then repeated at Carnegie Hall on the composer's 100th birthday in Decem- ber); Brahms's German Requiem; Mahler's Symphony No. 6; concert performances of Verdi's

Simon Boccanegra; a three-program survey of Mozart symphonies (concluding with the last three symphonies in a single program), and additional works by Beethoven, Berlioz, Boulez,

Brahms, Carter, Messiaen, Mozart, Schubert (the F minor Fantasie for piano four-hands, with

Daniel Barenboim), Schumann, Stravinsky, and Tchaikovsky. At Tanglewood in 2008, Mr.

Levine led Berlioz's Les Troyens with the Boston Symphony Orchestra and Dvorak's Symphony

No. 8 with the Tanglewood Music Center Orchestra, and was Festival Director for Tangle- wood's 2008 Festival of Contemporary Music, the Elliott Carter Centenary Celebration mark- ing the composer's lOOth-birthday year. Following the 2007 Tanglewood season, James

Levine and the Boston Symphony Orchestra made their first European tour together, perform- ing in the Lucerne Festival, the Schleswig-Holstein Festival (in Hamburg), Essen, Dusseldorf, the Berlin Festival, Paris, and the BBC Proms in London. Maestro Levine made his BSO debut in April 1972 and became music director in the fall of 2004, having been named music direc- tor designate in October 2001. His wide-ranging programs balance orchestral, operatic, and choral classics with significant music of the 20th and 21st centuries, including newly commis- sioned works from such leading American composers as Milton Babbitt, Elliott Carter, John

Harbison, Leon Kirchner, Peter Lieberson, Gunther Schuller, and Charles Wuorinen.

James Levine is also Music Director of the Metropolitan Opera, where, in the thirty-seven years since his debut there, he has developed a relationship with that company unparalleled in

WEEK 26 JAMES LEVINE 23 HP

ttHEC

its history and unique in the musical world today. All told at the Met he has led nearly 2,500

performances— more than any other conductor in the company's history— of 83 different

operas, including fifteen company premieres. In 2008-09 Maestro Levine leads the Opening

Night gala featuring Renee Fleming; a free performance of Verdi's Requiem marking the first

anniversary of Luciano Pavarotti's death; a 125th Anniversary Gala (also celebrating the 40th

anniversary of Placido Domingo's Met debut) featuring recreations of scenes from historic

Met productions; the final revival of Wagner's Ring cycle in Otto Schenk's production; a new

Robert Lepage production of Berlioz's Damnation of Faust, and a revival of Gluck's Orfeo ed

Euridice in Mark Morris's production, as well as concerts at Carnegie Hall with the MET

Orchestra and MET Chamber Ensemble. Also in New York this season he conducted Charles

Wuorinen's Ashberyana in a 70th-birthday-year celebration for that composer at the Guggen-

heim Museum in November, and led a master class for the Marilyn Home Foundation at Zankel

Hall in January.

Outside the United States, Mr. Levine's activities are characterized by his intensive and endur-

ing relationships with Europe's most distinguished musical organizations, especially the Berlin

Philharmonic, the Vienna Philharmonic, and the summer festivals in Salzburg (1975-1993) and

Bayreuth (1982-98). He was music director of the UBS Verbier Festival Orchestra from its

founding in 2000 and, before coming to Boston, was chief conductor of the Munich Philhar-

monic from 1999 to 2004. In the United States he led the Chicago Symphony Orchestra for

twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrently, was

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24 music director of the Cincinnati May Festival (1973-1978). Besides his many recordings with the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London

Symphony, Philharmonia Orchestra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia

Orchestra, and Vienna Philharmonic. Over the last thirty years he has made more than 200

recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers.

Born in Cincinnati, Ohio, on June 23, 1943, James Levine studied piano from age four and made his debut with the Cincinnati Symphony at ten, as soloist in Mendelssohn's D minor piano concerto. He was a participant at the Marlboro Festival in 1956 (including piano study with Rudolf Serkin) and at the Aspen Music Festival and School (where he would later teach and conduct) from 1957. In 1961 he entered the Juilliard School, where he studied conducting with Jean Morel and piano with Rosina Lhevinne (continuing on his work with her at Aspen).

In 1964 he took part in the Ford Foundation-sponsored "American Conductors Project" with the Baltimore Symphony Orchestra and Alfred Wallenstein, Max Rudolf, and Fausto Cleva.

As a direct result of his work there, he was invited by George Szell, who was on the jury, to become an assistant conductor (1964-1970) at the Cleveland Orchestra— at twenty-one, the youngest assistant conductor in that orchestra's history. During his Cleveland years, he also founded and was music director of the University Circle Orchestra at the Cleveland Institute of Music (1966-72).

James Levine was the first recipient (in 1980) of the annual Manhattan Cultural Award and in 1986 was presented with the Smetana Medal by the Czechoslovak government, following performances of the composer's Ma Vlast in Vienna. He was the subject of a Time cover story in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured in a documentary in PBS's "American Masters" series. He holds numerous honorary doctor- ates and other international awards. In recent years Mr. Levine has received the Award for

Distinguished Achievement in the Arts from New York's Third Street Music School Settlement; the Gold Medal for Service to Humanity from the National Institute of Social Sciences; the

Lotus Award ("for inspiration to young musicians") from Young Concert Artists; the Anton

Seidl Award from the Wagner Society of New York; the Wilhelm Furtwangler Prize from

Baden-Baden's Committee for Cultural Advancement; the George Jellinek Award from WQXR in New York; the Goldenes Ehrenzeichen from the cities of Vienna and Salzburg; the Crystal

Award from the World Economic Forum in Davos, Switzerland; America's National Medal of

Arts and Kennedy Center Honors; the 2005 Award for Distinguished Service to the Arts from the American Academy of Arts and Letters, and a 2006 Opera News Award. Most recently, in October 2008, he received the newly created NEA Opera Honor from the National Endow- ment for the Arts.

WEEK 26 JAMES LEVINE ( 25 m

Boston Symphony Orchestra 2oo8-2oog r=^

* JAMES LEVINE Bonnie Bewick* Xin Ding* Andrew Pearce Stephanie Morris Marryott and Stephen and Dorothy Weber Music Director Glen Cherry* Franklin J. Marryott chair chair Ray and Maria Stata Music Directorship, fully funded James Cooke* Mickey Katz* in perpetuity VIOLAS Catherine and Paul Buttenwieser Richard C. and Ellen E. Paine

chair Steven Ansell chair, fully funded in perpetuity BERNARD HAITINK Principal Victor Romanul* Alexandre Lecarme* Conductor Emeritus Charles S. Dana chair, endowed in Bessie Pappas chair Lillian and Nathan R. Miller chair LaCroix Family Fund, perpetuity in 1970 fully funded in perpetuity Catherine French* Adam Esbensen* Cathy Basrak Mary B. Saltonstall chair, Assistant Principal Blaise Dejardin* SEIJI OZAWA fully funded in perpetuity Anne Stoneman chair, fully Music Director Laureate # Kelly Barr* funded in perpetuity

Kristin and Roger Servison chair BASSES Edward Gazouleas Edwin Barker Jason Horowitz* Lois and Harlan Anderson chair, Principal FIRST VIOLINS Donald C. and Ruth Brooks Heath fully funded in perpetuity Harold D. Hodgkinson chair, chair, fully funded in perpetuity Malcolm Lowe Robert Barnes endowed in perpetuity in 1974 Concertmaster Julianne Lee* Ronald Wilkison Lawrence Wolfe § Charles Munch chair, Assistant Principal fully funded in perpetuity Michael Zaretsky SECOND VIOLINS Maria Nistazos Stata chair, Tamara Smirnova Marc Jeanneret fully funded in perpetuity Haldan Martinson Associate Concertmaster Principal Benjamin Levy Helen Homer Mclntyre chair, Mark Ludwig* Carl Schoenhof Family chair, Leith Family chair, fully funded endowed in perpetuity in 1976 Rachel Fagerburg* fully funded in perpetuity in perpetuity Alexander Velinzon Vyacheslav Uritsky Kazuko Matsusaka* Dennis Roy Assistant Concertmaster Assistant Principal Joseph and Jan Brett Hearne Robert L Seal, Enid L, and Rebecca Gitter* Charlotte and Irving W. Rabb chair Bruce A. Beal chair, endowed chair, endowed in perpetuity in perpetuity in 1980 Joseph Hearne in 1977 CELLOS Kathryn H. and Edward M. Elita Kang Ronald Knudsen Jules Eskin Lupean chair Assistant Concertmaster

Shirley and J. Richard Fennell Principal Edward and Bertha C. Rose chair James Orleans* chair, fully funded in perpetuity Philip R. Allen chair, endowed

Bo Youp Hwang in perpetuity in 1969 Todd Seeber* Joseph McGauley John and Dorothy Wilson chair, Eleanor L. and Levin H. Campbell David H. and Edith C Howie Martha Babcock fully funded in perpetuity chair, fully funded in perpetuity chair, fully funded in perpetuity Assistant Principal Lucia Lin Vernon and Marion Alden chair, JohnStovall* Ronan Lefkowitz Forrest Foster Collier chair endowed in perpetuity in 1977

Sheila Fiekowsky* Ikuko Mizuno Sato Knudsen FLUTES Dorothy and B. Q. David Arnold, Jennie Shames* Mischa Nieland chair, fully Jr., chair, fully funded in perpetuity funded in perpetuity Elizabeth Rowe Valeria Vilker Kuchment* Principal Amnon Levy Mihail Jojatu Walter Piston chair, endowed Muriel C. Kasdon and Marjorie C. Tatiana Dimitriades* Sandra and David Bakalar chair in perpetuity in 1970 Paley chair Si-Jing Huang* Miller* Jonathan Jennifer Nitchman Nancy Bracken* Charles and JoAnne Dickinson Nicole Monahan* Myra and Robert Kraft chair, Ruth and Carl J. Shapiro chair, chair endowed in perpetuity in 1981 fully funded in perpetuity Wendy Putnam* Owen Young* Robert Bradford Newman chair, Elizabeth Ostling Aza Raykhtsaum* F. Cogan, Jr., Mary L. John and Principal fully funded in perpetuity Associate Theodore W. and Evelyn Cornille chair, fully funded in Marian Gray Lewis chair, Berenson Family chair perpetuity fully funded in perpetuity

26 photos by Michael 1. Lutch

PICCOLO Suzanne Nelsen (position vacant) HARP John D. and Vera M. MacDonald Assistant Principal

Cynthia Meyers chair Ann Hobson Pilot

Evelyn and C. Charles Marran Benjamin Wright Principal Richard Ranti Arthur and Linda Gelb chair chair, endowed in perpetuity Nicholas and Thalia Zervas chair, Associate Principal in 1979 fully funded in perpetuity by Diana Osgood Tottenham/ Sophia and Bernard Gordon Hamilton Osgood chair, TROMBONES

OBOES fully funded in perpetuity Toby Oft VOICE AND CHORUS John Ferrillo Principal

J. P. and Mary B. Barger chair, Principal CONTRABASSOON John Oliver fully funded in perpetuity Mildred B. Remis chair, endowed Tanglewood Festival Chorus Gregg Henegar in perpetuity in 1975 Conductor (position vacant) Helen Rand Thayer chair Alan J. and Suzanne W. Dworsky Mark McEwen chair, fully funded in perpetuity James and Tina Collias chair HORNS BASS TROMBONE Keisuke Wakao Douglas Yeo 5 LIBRARIANS Assistant Principal James Sommerville John Moors Cabot chair, Principal Marshall Burlingame fully funded in perpetuity Helen Sagoff Slosberg/Edna S. Principal ENGLISH HORN Kalman chair, endowed in Lia and William Poorvu chair, perpetuity in 1974 Robert Sheena TUBA fully funded in perpetuity Beranek chair, fully funded Richard Sebring Mike Roylance William Shisler in perpetuity Associate Principal Principal Margaret Andersen Congleton John Perkel Margaret and William C, chair, fully funded in perpetuity CLARINETS Rousseau chair, fully funded (position vacant) in perpetuity ASSISTANT William R. Hudgins Elizabeth B. Storer chair, CONDUCTORS Principal fully funded in perpetuity Ann S.M. Banks chair, endowed TIMPANI Julian Kuerti

in perpetuity in 1977 Jay Wadenpfuhl Anna E. Finnerty chair, Timothy Genis John P. II and Nancy S. Eustis fully funded in perpetuity Michael Wayne Sylvia Shippen Wells chair, chair, fully funded in perpetuity Thomas Sternberg chair endowed in perpetuity in 1974 Shi-Yeon Sung Jason Snider Thomas Martin Gordon and Mary Ford Kingsley Associate Principal & PERCUSSION Family chair PERSONNEL E-flat clarinet MANAGERS Frank Epstein Stanton W. and Elisabeth K. Jonathan Menkis Peter and Anne Brooke chair, Lynn Larsen Davis chair, fully funded in Jean-Noel and Mono N. Tariot G. fully funded in perpetuity perpetuity chair Bruce M. Creditor J. William Hudgins Timothy Tsukamoto Peter Andrew Lurie chair, BASS CLARINET TRUMPETS Assistant Personnel Managers fully funded in perpetuity Craig Nordstrom Thomas Rolfs W. Lee Vinson Farla and Harvey Chet Krentzman Principal STAGE MANAGER Barbara Lee chair chair, fully funded in perpetuity Roger Louis Voisin chair, endowed John Demick in perpetuity in 1977 (position vacant) Assistant Timpanist BASSOONS (position vacant) Mr. and Mrs. Edward H. Linde * Ford H. Cooper chair, endowed participating in a system Richard Svoboda chair in perpetuity in 1984 of rotated seating Principal § on sabbatical leave Edward A. Taft chair, endowed * in perpetuity in 1974 on leave

WEEK 26 BOSTON SYMPHONY ORCHESTRA (27 Farewell, Thanks, and All Best

Three members of the Boston Symphony Orchestra will retire from the BSO at the end of the

2009 Tanglewood season— principal harp Ann Hobson Pilot, after 40 years of service to the

orchestra, violinist Amnon Levy, after 45 years of service to the BSO, and violist Ronald Wilki-

son, after 38 years of service to the orchestra. We extend heartfelt, sincere thanks to all of

them for their dedication and many years of service to the Boston Symphony Orchestra (123

years total) and the musical community of Boston, and we wish them well in all of their future endeavors.

A graduate of the Cleveland Institute of Music, ANN HOBSON PILOT became principal harp

of the Boston Symphony Orchestra in 1980, having joined the BSO in 1969 as assistant princi-

pal harp and principal harp with the Boston Pops. Prior to that, she was substitute sec-

ond harp with the Pittsburgh Symphony Orchestra and principal harp of the National

Symphony Orchestra. Ms. Hobson Pilot has also had an extensive solo career; she has

performed as a soloist with many American orchestras, as well as with orchestras in

Europe, Haiti, New Zealand, and South Africa. She has several recordings available on

the Boston Records label, as well as on the Koch International and Denouement labels.

Ann holds a Doctor of Fine Arts from Bridgewater State College. In 1998 and 1999

she was featured in a video documentary sponsored by the Museum of Afro-American History and WGBH, aired nationwide on PBS, about her personal musical journey as

well as her African journey to find the roots of the harp. In September 1999 she traveled to

London to record, with the London Symphony Orchestra, the Harp Concerto by the young

American composer Kevin Kaska, a work that she commissioned. Ann is on the faculties of

the New England Conservatory, Boston University, the Tanglewood Music Center, and the

Boston University Tanglewood Institute. She is a member of the contemporary music ensem- ble Collage New Music and has also performed with the Boston Symphony Chamber Players,

the Ritz Chamber Players, and the Marlboro, Newport, and Sarasota music festivals, among

others. On Opening Night of the BSO's 2009-10 season (a program to be repeated by the

BSO in New York as Carnegie Hall's 2009-10 season-opener), Ann will play the world pre-

miere of John Williams's On Willows and Birches for harp and orchestra, composed especially

for her and the orchestra on the occasion of her retirement. She will then perform the piece

in early October, in a BSO subscription concert that also features her in music of Carter and Debussy.

I Ann writes: "When I was a young student just beginning the study of the harp, was not given

much of a chance, as an African- American female, to succeed in the classical music field. Forty years ago, the Boston Symphony Orchestra gave me the opportunity to collaborate with

world-class musicians and conductors and to develop my musical skills. I am proud to have

been a member of this world-renowned orchestra, which has given me the chance to experi-

28 ence many different cultures, many wonderful people, and incredible musical experiences.

Although I am retiring, the BSO will always have a special place in my heart, and I will continue to enjoy the concerts as a member of the audience."

Violinist AMNON LEVY'S musical career began in Tel Aviv, his birthplace. Jascha Heifetz urged him to attend the Juilliard School, where he studied with the legendary Ivan Galamian.

Mr. Levy graduated from the Curtis Institute and participated in the Marlboro Music

Festival, where he performed with Rudolf Serkin. He was a first violinist in the Min-

nesota Orchestra, led by Antal Dorati, and also in the Los Angeles Philharmonic, led by

Zubin Mehta, before joining the Boston Symphony Orchestra in 1964. He has performed

as soloist with the Boston Pops under Arthur Fiedler, Harry Ellis Dickson, Erich Kunzel,

and Keith Lockhart, and has also performed in Jordan Hall, at Tanglewood, and at the

Hatch Shell on the Charles River Esplanade. He has a serious interest in conducting

and is a gourmet chef.

For more than a decade, Amnon has been a Boston Symphony "godparent" at the John

D. Philbrick Elementary School in Roslindale, where he is a member of the Philbrick Trio along with pianist Vytas Baksys and flutist Brenda Levy; the trio performs annually for Stacey Isle's first-grade class. In addition to coaching chamber music at the Tanglewood Music Center and the Boston University Tanglewood Institute, he has conducted and coached young musicians in preparation for professional auditions. His son Sam is a cinematographer in New York City.

As he approaches his retirement, Amnon observes that he will miss not only performing with his colleagues, but also, in particular, "the many friends in the audience that I've gotten to know throughout my 45 years of playing with the orchestra."

RONALD WILKISON began violin lessons as a fourth-grader in his hometown of Sacramento under the tutelage of Jim Adair. While in his teens, he was selected as a Fellow of the Ameri-

can Federation of Musicians and attended the Congress of Strings for further study.

Mr. Wilkison joined the United States Army when he was eighteen, serving for five

years as a member of the Army Band's Strolling Strings in Washington, where he per-

formed regularly at the White House. Before joining the Boston Symphony Orchestra

as a violinist in 1971, he was a member of the Baltimore Symphony and the Temple

Institute String Quartet. A founding member (as second violin) of the Francesco String

Quartet, he was appointed to his present position in the BSO viola section at the

beginning of the 1982-83 season.

Perhaps the most noteworthy aspect of Ronald Wilkison's career is that he is, for the most part, self-taught and has always maintained an active interest in pursuits outside of music. An accomplished player of the Chinese game of Go, he is also an avid golfer, motorcy- clist, and commodities trader. With several previous home construction projects to his credit, he is currently devoting his energies to the renovation of a circa-1880 carriage house in the

Adirondack Mountains in upstate New York. After retirement he plans on spending his time, along with his wife, violist Patricia McCarty, between Boston and the Adirondacks, where they have an affiliation with the Meadowmount School of Music. Of his upcoming retirement, Ron writes: "I believe that I'm leaving the BSO at a time when it sounds better than I've heard it

during my entire career. I shall undoubtedly miss listening to my colleagues from one of the best seats in the house."

WEEK 26 FAREWELL, THANKS, AND ALL BEST 29 ^M

JAMES LEVINE, MUSIC DIRECTOR BERNARD HAITINK, CONDUCTOR EMERITUS SEIJI OZAWA, MUSIC DIRECTOR LAUREATE

Boston Symphony Orchestra

128th season, 2008-2009

Thursday, April 30, 8pm

Friday, 1, Elizabeth May 1:30pm | the taylor fessenden MEMORIAL CONCERT

Saturday, l. May 2, 8pm | the paul king concert

SIR COLIN DAVIS conducting

MOZART PIANO CONCERTO NO. 25 IN C, K.5O3

Allegro maestoso Andante

[Allegretto] IMOGEN COOPER {INTERMISSION}

B S O LEVINE L I V E

THE BOSTON SYMPHONY ORCHESTRA RELEASES FOUR NEW ALBUMS FEATURING MUSIC DIRECTOR JAMES LEVINE!

ON SALE NOW AT BSO.ORC Available on CD and as a download: Available in both standard MP3 and

HD Surround formats. All four record- ings are available as digital down- loads. Ravel's Daphnis and Chloe and Brahms's A German Requiem are also

available on compact disc in hybrid super audio format

DIGITAL SUBSCRIPTIONS! Available exclusively as a download: Lyric The BSO now offers a digital music Bolcom Eighth Symphony; Concerto subscription which provides Mahler Symphony No. 6 patrons complete access to the entire digital music catalog. BOSTON SYMPHONY

CLASSICS ORCHESTRA

30 BERLIOZ TE DEUM, OPUS 22, FOR TENOR SOLOIST, DOUBLE CHORUS, CHILDREN'S CHORUS, ORGAN, AND ORCHESTRA

Te Deum (Hymne)

Tibi omnes angeli (Hymne)

Dignare, Domini (Priere)

Christe, Rex gloriae (Hymne)

Te ergo quaesumus (Priere)

Judex crederis esse venturus (Hymne et priere)

MATTHEW POLENZANI, TENOR TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, CONDUCTOR PALS CHILDREN'S CHORUS, ALYSOUN KEGEL, ARTISTIC DIRECTOR JOHN FINNEY, ORGAN

Text and translation begin on page 50.

THIS YEAR S BOSTON SYMPHONY ORCHESTRA RETIREES WILL BE ACKNOWLEDGED ON STAGE AT THE END OF THESE CONCERTS (SEE PAGE 28).

THE GUEST ARTISTS' PERFORMANCES THIS WEEK ARE SUPPORTED BY A GIFT IN MEMORY OF HAMILTON OSGOOD.

THIS WEEK'S PERFORMANCES BY THE TANGLEWOOD FESTIVAL CHORUS ARE SUPPORTED

BY THE ALAN J. AND SUZANNE W. DWORSKY FUND FOR VOICE AND CHORUS.

U*^^ UBS IS PROUD TO SPONSOR THE BSO'S 2008-2009 SEASON.

The evening concerts will end about 9:55 and the afternoon concert about 3:25.

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The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox.

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert.

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Wolfgang Amade Mozart

Piano Concerto No. 25 in C, K.503

JOANNES CHRISOSTOMUS WOLFGANG GOTTLIEB MOZART, who began calling himself Wolfgango Amadeo around 1770 during his first trip to Italy and switched to Wolfgang Amade in

1777, but who never used Amadeus except in jest, was born in Salzburg, Austria, on January 27,

1756, and died in Vienna on December 5, 1791. He completed the C major piano concerto, K.503, on December 4, 1786, and played it in Vienna later that month. Mozart left no cadenzas for this concerto; at these performances, Imogen Cooper plays cadenzas by Alfred Brendel.

IN ADDITION TO THE SOLO PIANIST, the score of this concerto calls for an orchestra of one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings.

S^ In just under three years, Mozart wrote twelve piano concertos. It is the genre that absolutely dominates his work schedule in 1784, 1785, and 1786, and what he poured

out— almost all of it for his own use at his own concerts— is a series of masterpieces that

delight the mind, charm and seduce the ear, and pierce the heart. They are the ideal real-

ization of what might be done with the piano concerto. Beethoven a couple of times

reaches to where Mozart is, and perhaps Brahms, too, but still, in this realm Mozart

scarcely knows peers. K.503 is the end of that run. It comes at the end of an amazing

year, amazing even for Mozart, that had begun with work on The Impresario and Figaro, and whose achievements include the A major piano concerto, K.488, and the C minor,

K.491; the E-flat piano quartet; the last of his horn concertos; the trios in G and B-flat for

piano, violin, and cello, as well as the one in E-flat with viola and clarinet; and the sonata

in F for piano duet, K.497. Together with the present concerto he worked on the Prague

Symphony, finishing it two days later, and before the year was out he wrote one of the

most personal and in every way special of his masterpieces, the concert aria for soprano

with piano obbligato and orchestra, "Ch'io mi scordi di re," K.505.

Such a list does not reflect how Mozart's life had begun to change. On March 3, 1784, for

example, he could report to his father that he had twenty-two concerts in thirty-eight

WEEK 26 PROGRAM NOTES A PERFECT GIFT IS THE RESULT OF A CAREFUL BALANCE BETWEEN EXQUISITE TASTE AND IMPECCABLE TIMING.

SHREVE,CRUMP&LOW The Gem of Boston Since 1796™ WWW.SHREVECRUMPANDLOW.COM Boston Flagship Store The Mall at Chestnut Hill Corner of Berkeley & Boylston (617) 965-2700 (617) 267-9100 TM 2008 BSO days: "I don't think that this way I can possibly get out of practice." A few weeks later, he wrote that for his own series of concerts he had a bigger subscription list than two other performers put together, and that for his most recent appearance the hall had been "full to overflowing." In 1786, the fiscal catastrophes of 1788, the year of the last three sym- phonies, were probably unforeseeable, and one surpassing triumph still lay ahead of him, the delirious reception by the Prague public of Don Giovanni in 1787 Figaro was popular in Vienna, but not more than other operas by lesser men, and certainly not enough to buoy up his fortunes for long. Perhaps it is even indicative that we know nothing about the first performance of K.503. Mozart had planned some concerts for December 1786, and they were presumably the occasion for writing this concerto, but we have no evidence that these appearances actually came off.

What has changed, too, is Mozart's approach to the concerto. It seems less operatic than before, and more symphonic. The immediately preceding one, the C minor, K.491, com- pleted March 24, 1786, foreshadows this, but even so, K.503 impresses as a move into something new. Its very manner is all its own. For years, and until not so long ago, it was one of the least played of the series; it was as though pianists were reluctant to risk dis- concerting their audiences by offering them Olympian grandeur and an unprecedented compositional richness where the expectation was chiefly of charm, operatic lyricism, and humor.

This is one of Mozart's big trumpets-and-drums concertos, and the first massive gestures make its full and grand sonority known. But even so formal an exordium becomes a per- sonal statement in Mozart's hands— "cliche becomes event," as Adorno says about

Mahler—and across the seventh measure there falls for just a moment the shadow of the minor mode. And when the formal proclamations are finished, the music does indeed take off in C minor. Such harmonic— and expressive— ambiguities inform the whole movement. Mozart always likes those shadows, but new here are the unmodulated tran- sitions from major to minor and back, the hardness of his chiaroscuro. The first solo

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36 entrance is one of Mozart's most subtle and gently winsome. The greatest marvel of all is the development, which is brief but dense, with a breathtaking harmonic range and an incredible intricacy of canonic writing. The piano has a delightful function during these pages, proposing ideas and new directions, but then settling back and turning into an accompanist who listens to the woodwinds execute what he has imagined. (And how keenly one senses Mozart's own presence at the keyboard here!)

The Andante is subdued, formal and a little mysterious at the same time, like a knot gar- den by moonlight, and remarkable too for the great span from its slowest notes to its fastest. For the finale, Mozart goes back to adapt a gavotte from his then five-year-old opera Idomeneo. In its courtly and witty measures, there is nothing to prepare us for the epiphany of the episode in which the piano, accompanied by cellos and basses alone (a sound that occurs nowhere else in Mozart), begins a smiling and melancholy song that is continued by the oboe, the flute, the bassoon, and in which the cellos cannot resist join- ing. Lovely in itself, the melody grows into a music whose richness of texture and whose poignancy and passion astonish us even in the context of the mature Mozart. From that joy and pain Mozart redeems us by leading us back to his gavotte and from there into an exuberantly inventive, brilliant ending.

Michael Steinberg

MICHAEL STEINBERG was program annotator of the Boston Symphony Orchestra from 1976 to

1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University

Press has published three compilation volumes of his program notes, devoted to symphonies, concer- tos, and the great works for chorus and orchestra.

THE FIRST AMERICAN PERFORMANCE of this concerto took place on November 4, 1865;

Sebastian Bach Mills was soloist, with Carl Bergman conducting the Philharmonic Society at the

Academy of Music in New York.

THE first BOSTON symphony performances of Mozart's Piano Concerto No. 25 in C,

K.503, took place in March 1883 with soloist Carl Baermann and Georg Henschel conducting. It was not played again by the orchestra until July 13, 1962, at Tanglewood, when Claude Frank was soloist with Charles Munch conducting, subsequent BSO performances featuring Claude Frank again (with Erich Leinsdorf), Stephen Bishop (with Colin Davis), Malcolm Frager (Andrew Davis), Rudolf

Firkusny (Herbert Blomstedt), Garrick Ohlsson (James Conlon), Radu Lupu (Kurt Masur), Alicia de Larrocha (Pascal Verrot and Kurt Sanderling), Emanuel Ax (Mariss Jansons), Christian Zacharias

(the most recent subscription performances, with Bernard Haitink in February 1998), Richard Goode (Haitink), and Ax again (the most recent Tanglewood performance, with James Conlon on August

16, 2002).

WEEK 26 PROGRAM NOTES 37 BB&BSOKsamu. MAKE A CONTRIBUTION THIS SEASON

Join the Friends of the BSO and enhance your experience of the Boston Symphony Orchestra throughout the year ahead. The exclusive benefits offered to members will make your association with the BSO more reward- ing and concert attendance more enjoyable.

By joining, you will have the opportunity to attend a BSO or Pops working rehearsal and receive special discounts at the Symphony Shop and Tanglewood Glass House. Monthly behind-the-scenes news and updates on BSO concerts and programs will be sent to you via email. You may even receive advance ticketing privileges based on your level of giving.

More importantly, you will help make possible a season of extraordinary music making by Maestro James Levine and BSO musicians.

To learn more, or to make a gift, call 617-638-9276, visit bso.org, or stop by the information table in the lobby.

THE HIGGINSON SOCIETY riends OF THE BOSTON SYMPHONY ORCHESTRA BOSTON SYMPHONY ORCHESTRA Hector Berlioz

"Te Deum, " Opus 22, for tenor solo, double chorus, children's chorus, organ, and orchestra

HECTOR-LOUIS BERLIOZ was born at La Cote- Saint-Andre (department of Isere), south of Lyon,

France, on December n, 1803, and died in Paris on March 8, 1869. Berlioz composed the "Te Deum" between December 1848 and August 1849; ne conducted the first performance on April

30, 1855, in the Church of Saint- Eustache, Paris.

THE SCORE OF BERLIOZ'S "TE DEUM" calls for for tenor soloist, two choruses, children's cho- rus, organ, and an orchestra of four flutes, four oboes, four clarinets, four bassoons, four horns, two trumpets, two cornets, six trombones, ophicleide, tuba, timpani, bass drum, cymbals, snare drams, harps, and strings.

.Sh The Te Deum has been sung as a hymn of thanksgiving and celebration for many centuries, especially in France. Napoleon ordered a Te Deum by Paisiello, one of his favorite com-

posers, to celebrate the Peace of Amiens in 1802; it was performed by two choirs and

orchestras in Notre Dame cathedral and repeated two years later for Napoleon's coronation

there (the event that enraged Beethoven). Le Sueur, another of Napoleon's favorite com-

posers, supplied the Te Deum for Charles X's grand coronation in Reims cathedral in 1825.

Berlioz's childhood passed in time of war, with news of Napoleon's victories arriving

regularly in the little town of La Cote-Saint-Andre, where his father was a doctor and

a respected citizen. His uncle Felix was an officer bearing scars and medals from the

Peninsular War, one of the few to return alive from the Russian campaign in 1812. On

March 9, 1815, when Berlioz was eleven, Napoleon passed within two miles of their

house on his triumphant return from Elba, much to the alarm of the cautious Dr. Berlioz.

In Paris his first teacher was Le Sueur, who had been much honored by the Emperor and

who must have boasted to his young students about serving the man he so admired. In

1832, having spent over a year in Italy as winner of the Prix de Rome, Berlioz found him-

self returning to France along a route that reminded him of Napoleon's victories in Italy in

1796-97. In his notebook he jotted down the idea for a work to be called Le Retour de I'ar-

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NEW ENGLAND CONSERVATORY PREPARATORY SCHOOL concerts.newenglandconservatory.edu mee d'ltalie, a "military symphony" in two movements. The first movement was entitled

"Farewell from the Alps to the Brave Men who fell on Italian Battlefields"; the second was

"The Conquerors' Triumphal Entry into Paris." He added: "The idea came to me in Turin on 25 May 1832, on seeing the Alps again, my heart full of the Napoleonic memories

aroused by the country I had just passed through."

The grandeur and solemnity of ceremonial music inspired by the Revolution and its

Napoleonic aftermath lay behind Berlioz's own conception of choral sacred music. Best known is the Requiem, composed in 1837 for a large-scale commemoration in the Church of the Invalides. This requires an unusually large orchestra and four additional brass brands placed at the four corners of the main body. It made a powerful impression— it still does—and confirmed Berlioz's outstanding gift for what he called "architectural" music.

The Te Deum, composed twelve years later, was a brother to the Requiem, conceived on a slightly smaller scale but still evoking the awe and magnificence of grand ceremonial music. The two large choruses balance and respond to each other. Similarly, the promi- nent organ part is designed to act in response to the orchestra, not as a part of it. Writ- ing to the Russian critic Stasov in 1847, Berlioz said: "The organ can sometimes be suc-

cessfully used in sacred music by conversing with the orchestra in dialogue, but I don't believe it can have a good effect if it sounds simultaneously with it." Or, as he put it in his

Treatise on Orchestration, "The organ and the orchestra are both kings; or rather, one is

Emperor and the other is Pope."

The disorders in the streets of Paris in 1848 convinced Berlioz that music in France was

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42 dead, especially when a Second Republic was formed. He had long given up any expecta- tion that the government was enlightened enough to commission grand new modern works. But on December 10, 1848, Louis-Napoleon, the Emperor's nephew, was elected

President of the Republic, an event on which Berlioz commented somewhat cynically in

his correspondence. It has rarely been observed that he set to work on the composition of the Te Deum immediately thereafter. The election offered the likelihood of ceremonies for which grand music would be required, and there seems to be a direct connection between Louis-Napoleon's rapid rise to power and the composition of the Te Deum, which, from so many points of view, embodies Berlioz's image of Napoleonic glory. The new work was not an offering to the new Napoleon but a tribute to the old one at a moment in political history when Bonapartism showed a great resurgence. Berlioz's unconcealed satisfaction when Louis-Napoleon declared himself Emperor in 1852, and his steady disil- lusionment as the Second Empire proved to be irredeemably philistine in its regard for the arts, does not alter the fact that in 1849 Berlioz was so fired by the Napoleonic spirit that he celebrated it in a grand Te Deum in nostalgic reference to the great glories of the first Empire.

When the Te Deum was finally performed six years later, the critic Maurice Bourges, who must have had inside information from Berlioz himself, wrote:

This Te Deum was to have been part of a composition conceived on a colossal scale,

half epic, half dramatic, and intended to celebrate the military glory of the First

Consul. At the moment when General Bonaparte enters the arches of the cathedral,

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Louis-Napoleon (1808-73), upon whose election as President of the

Republic in December 1848 Berlioz

began composing his "Te Deum"

the Te Deum bursts forth from all directions, standards are lowered, drums beat, guns

sound, and bells ring out in great peals. This explains the altogether warlike aspect of

this work.

This military tone is supported by two orchestral movements that are normally omitted,

as they will be in these performances: a somber Prelude separated the Tibi omnes from

the Dignare, and a "March for the Presentation of the Colors," which recalls some earlier

themes, was added at the end for ceremonial occasions.

In 1851, two years after completing the work, Berlioz had the amazing experience of hear-

ing 6000 children singing beneath the dome of St. Paul's Cathedral when he was in

London for the Great Exhibition of that year. This was, he felt, the perfect conjunction of

large numbers and a large space, so he then added a third chorus to his Te Deum, a part

for children's voices. Removing a zero from the London group, he asked for 600 children's

voices, although even that number is hard to assemble anywhere. He himself likened

this third chorus to the chorale line in the opening chorus of Bach's St. Matthew Passion,

which he had heard in Berlin.

Berlioz hoped that the Emperor would order a performance of his grand new work. The

nephew, alas, had worse taste in music than his uncle, and never recognized the com-

poser of the Damnation of Faust and Les Troyens in his own circle. No performance of the

Te Deum was given until April 1855, when the inauguration of a new organ in the Church

of Saint-Eustache, in Les Halles, called for appropriate music. Berlioz hoped that since

this coincided with the opening of the Universal Exhibition of that year, it would become

an official occasion and that the Emperor would attend. (As it happened, the opening of

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the exhibition was postponed and the Emperor did not attend.) This was the only per- formance in Berlioz's lifetime.

The six choral movements alternate the grand and the humble. The opening Te Deum is broad and fugal, featuring a mighty descending scale as a principal theme, in which the children's choir later joins. The Tibi omnes is built on three verses, each of which alter- nates the grand and the humble, like the work itself. One section of voices sings the verse (in turn sopranos, then tenors, then basses, with a different harmonization for each), leading to a mighty refrain on "Pleni sunt coeli et terra majestatis gloriae tuae" in which all forces join. The third verse has a coda attached; the strings recall the organ's quiet introduction.

The Dignare is meditative, beautifully constructed over an immense arching bass line. The

Christe, rex gloriae is grand, the Te ergo humble, calling for a tenor soloist and a simple

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48 choral refrain. The organ is silent in both. The Judex crederis is the mightiest movement of all, starting as an unconventional fugue with each voice entering a half-step higher than the last. There are quieter contrasts, but they serve only to highlight the huge climaxes which build one upon another. The blaze of trumpets that electrifies the final chord was an inspired afterthought, squeezed awkwardly by the composer into his finished manu- script.

After the first performance, Berlioz described the work to Liszt as "colossal, Babylonian,

Ninevite," words with which Heine had evoked Berlioz in a recent book. Those huge human-headed winged bulls that adorn the Assyrian Sculpture Gallery in the British

Museum arrived there in a hailstorm of publicity in 1852 (looted from Mosul?) while

Berlioz was in London for some concerts. We cannot be sure if he saw them or not, but he would not have been ashamed of composing music that linked the greatest of pre-

Christian empires with that of France.

Hugh Macdonald

HUGH MACDONALD is Avis Blewett Professor of Music at Washington University in St. Louis and principal pre-concert speaker for the Saint Louis Symphony Orchestra. General editor of the New

Berlioz Edition, he has written extensively on music from Mozart to Shostakovich and is a frequent guest annotator for the BSO. His latest book is "Beethoven's Century: Essays on Composers and

Themes," in the series of Eastman Studies on Music (University of Rochester Press).

THE FIRST AMERICAN PERFORMANCE of Berlioz's "Te Deum" was given on December 1, 1887, by the Apollo Musical Club in Chicago, W.L. Tomlins conducting, with three soloists (Miss Griswold,

Charles Knorr, and A.E. Stoddard) and organist Clarence Eddy. The first Boston performance was given on January 29, 1888, by the Handel & Haydn Society, Carl Zerrahn conducting, with a chorus of 363, an orchestra of 65, a boys' choir of 39, and soloist William H. Fessenden. The work was per- formed in New York on May 5, 1891, with Walter Damrosch conducting and Italo Campanini, soloist, in the opening concert of Carnegie Hall.

THE FIRST BOSTON SYMPHONY ORCHESTRA PERFORMANCE of Berlioz's "Te Deum" was given by Charles Munch on August 7, 1954, at Tanglewood (with tenor David Poleri, the "Festival

Chorus" prepared by Hugh Ross and Lorna Cooke DeVaron, and organist Willem Friso Frank). The orchestra has since played the work under Colin Davis on August 13, 1972, at Tanglewood (with tenor Kenneth Riegel; the Tanglewood Festival Chorus, John Oliver, conductor; the Albany All Saints

Cathedral Choir of Men and Boys, Lloyd E. Cast, Jr., director; girls from the Indian Hill School,

Jerome Rosen, director; and organist Berj Zamkochian); under Colin Davis in February 1973 (with

Riegel, the Tanglewood Festival Chorus; the St. Paul's School Boy Choir, Theodore Marier, director, and Zamkochian); under Gennady Rozhdestvensky in April 1990, marking the twentieth anniversary of the Tanglewood Festival Chorus (with tenor David Gordon; the Tanglewood Festival Chorus; the

Boston Boy Choir, John Dunn, director; and organist James David Christie); and under Seiji Ozawa in

January 1997 in Boston and at Tanglewood on August 1, 1997 (with tenor John Aler, the Tanglewood

Festival Chorus, and the PALS Children's Chorus, Johanna Hill Simpson, director, with organist James

David Christie in Boston and Jeffrey Jubenville at Tanglewood).

WEEK 26 PROGRAM NOTES HECTOR BERLIOZ

"Te Deum, " Opus 22

Te Deum laudamus (Hymn)

Te Deum laudamus; te Dominum We praise Thee, o God, we confitemur, acknowledge Thee to be the Lord.

Te aeternum Patrem: omnis terra All the earth doth worship Thee, veneratur. the Father everlasting.

Tibi omnes angeli (Hymn)

Tibi omnes angeli: tibi coeli et To Thee all angels cry aloud: the

potestates; heavens and all the powers therein; Tibi cherubim et seraphim To Thee cherubim and seraphim incessabili voce proclamant: continually do cry: Sanctus, Sanctus, Sanctus: Deus Holy, Holy, Holy: Lord God of Sabaoth! Sabaoth;

Pleni sunt coeli et terra majestatis Heaven and earth are full of the gloriae tuae. majesty of thy glory. Te gloriosus chorus apostolorum, The glorious company of the apostles praise Thee. Te prophetarum laudabilis The goodly fellowship of the prophets numerus, praise Thee. Te martyrum candidatus laudat The noble army of martyrs praise exercitus. Thee.

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50 Te per orbem terrarum sancta The holy Church throughout all the confitetur Ecclesia world doth acknowledge Thee, Patrem immensae majestatis; The Father of an infinite majesty; Venerandum tuum verum et unicum Thine honorable, true, and only Filium, Son; Sanctum quoque Paraclitum Spiritum. Also the Holy Ghost, the Comforter.

Dignare, Domine (Prayer)

Dignare, Domine, die iste, sine Vouchsafe, o Lord, to keep us this day peccato nos custodire. without sin.

Aeterna fac cum Sanctis tuis in Make us to be numbered with Thy gloria numerari. saints in glory everlasting. Miserere nostri! miserere nostril O Lord, have mercy upon us, have mercy upon us.

Christe, Rex gloriae (Hymn)

Tu, Christe, Rex gloriae: Thou art the King of glory, o Christ:

Patris sempiternus Filius. Thou art the everlasting Son of the Father. Tu, devicto mortis aculeo, When Thou hadst overcome the aperuisti credentibus regna sharpness of death, Thou didst open

coelorum. the kingdom of heaven to all believers.

Tu, ad liberandum suscepturus When Thou tookest upon Thee to hominem, non horruisti deliver man, Thou didst not abhor Virginis uterum. the Virgin's womb,

Tu ad dexteram Dei sedes, in Thou sittest at the right hand of God, gloria Patris. in the glory of the Father.

Te ergo quaesumus (Prayer)

Te ergo, quaesumus, famulis tuis We therefore pray Thee, help Thy subveni, quos pretioso servants, whom Thou hast redeemed sanguine redemisti. with Thy precious blood.

Fiat super nos misericordia tua, O Lord, let Thy mercy lighten Domine, quemadmodum upon us, as our trust

speravimus in te. is in Thee.

Judex crederis (Hymn and Prayer)

Judex crederis esse venturus. We believe that Thou shalt come to be our judge,

In te, Domine, speravi; non confundar O Lord, in Thee have I trusted; let me in aeternum. never be confounded. Salvum fac populum tuum et benedic O Lord, save Thy people, and bless hereditati tuae, Domine. thine heritage. Per singulos dies benedicimus, Day by day we magnify Thee, and laudamus te et laudamus we worship Thy name, ever world nomen tuum. without end.

WEEK 26 TEXT AND TRANSLATION 51 ISA

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The important modern biography of Mozart is Maynard Solomon's Mozart: A Life (Harper-

Perennial paperback). Peter Gay's Mozart is a straightforward and very concise general introduction to the composer's life, reputation, and artistry (Penguin paperback). Rela- tively recent additions to the Mozart bibliography are Mozart: His Life and Work, by Julian

Rushton, in the Master Musicians series (Oxford); the late Stanley Sadie's Mozart: The

Early Years, 1756-1781 (Oxford); Mozart's Women: His Family, his Friends, his Music, by the conductor Jane Glover (HarperCollins), and Robert Gutman's Mozart: A Cultural Biography

(Harcourt Brace Jovanovich/Harvest paperback). An important recent source of infor- mation on Mozart is the Cambridge Mozart Encyclopedia, edited by Cliff Eisen and Simon

Keefe (Cambridge University paperback). Stanley Sadie's Mozart article from The New Grove Dictionary (1980) was published separately as The New Grove Mozart (Norton paperback). The revised entry in the 2001 Grove is by Sadie and Cliff Eisen; this has been published separately as a new New Grove Mozart (Oxford paperback). "Musical lives," a series of readable, compact composer biographies from Cambridge University Press, includes John Rosselli's The life of Mozart (Cambridge paperback). Though published nearly twenty years ago, The Compleat Mozart: A Guide to the Musical Works of Wolfgang

Amadeus Mozart, edited by Neal Zaslaw and William Cowdery, remains a valuable source of information (Norton). The Mozart Compendium: A Guide to Mozart's Life and Music, edited by H.C. Robbins Landon, includes an entry by Robert Levin on the concertos

(Schirmer). A Guide to the Concerto, edited by Robert Layton, includes a chapter by Denis

Matthews on "Mozart and the Concerto" (Oxford paperback). Also useful is Philip Rad- cliffe's Mozart Piano Concertos in the series of BBC Music Guides (University of Washington paperback). Alfred Einstein's Mozart: The Man, the Music is a classic older study (Oxford paperback). Other older books that remain worth knowing are Cuthbert Girdlestone's

Mozart and his Piano Concertos (Dover paperback) and Arthur Hutchings's A Companion to Mozart's Piano Concertos (Oxford paperback). Among other books on the composer,

Volkmar Braunbehrens's Mozart in Vienna, 1781-1791 provides a full picture of the com- poser's final decade (HarperPerennial paperback), and Peter Clive's Mozart and his Circle:

A Biographical Dictionary is a handy reference work with entries about virtually anyone you can think of who figured in Mozart's life (Yale University Press). Michael Steinberg's note on the C major piano concerto, K.503, is in his compilation volume The Concerto-

A Listener's Guide (Oxford paperback). Donald Francis Tovey discusses K.503 as part of his 1903 essay "The Classical Concerto," at one time available in the third volume

("Concertos") of his Essays in Musical Analysis (Oxford paperback). Edited by Joseph

WEEK 26 READ AND HEAR MORE earn harmony.

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ls:Y wgbh.org/classical • Live performances • Weekly podcasts Kerman, the volume devoted to K.503 in the series of Norton Critical Scores includes historical and analytical essays as well as the score of the work itself (Norton paperback).

Imogen Cooper has recorded Mozart's C major piano concerto, K.503, with Bradley Cres- wick and the Northern Sinfonia (Avie, with the C minor concerto, K.491, and the D minor

Fantasia for solo piano, K.397). Sir Colin Davis has recorded K.503 with Stephen Kovace- vich (Decca). Other recordings (listed alphabetically by soloist) include Geza Anda's with the Camerata Academica of the Salzburg Mozarteum (Deutsche Grammophon),

Daniel Barenboim's with the Berlin Philharmonic (Warner Classics), Alfred Brendel's with

Sir Neville Marriner and the Academy of St. Martin in the Fields (Philips), Leon Fleisher's with George Szell and the Cleveland Orchestra (Sony), Jeno Jando's with Matyas Antal and the Concentus Hungaricus (Naxos), Murray Perahia's with the English Chamber

Orchestra (Sony), and Mitsuko Uchida's with Jeffrey Tate and the English Chamber Orches- tra (Philips).

A comprehensive modern Berlioz biography in two volumes— Berlioz, Volume I: The Making of an Artist, 1803-1832 and Berlioz, Volume II: Servitude and Greatness, 1832-1869— by

Berlioz authority David Cairns appeared in 1999 (University of California paperback).

Another important modern biography, from 1989, is D. Kern Holoman's Berlioz, subtitled

"A musical biography of the creative genius of the Romantic era" (Harvard University

Press). Berlioz, by Hugh Macdonald, general editor of the Berlioz critical edition, offers a compact introduction to the composer's life as part of the "Master Musicians" series

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Find out more at blo.org or by calling 617.542.6772. Boston Lyric Opera (Oxford paperback). Even more compact is Peter Bloom's The life of Berlioz, in the series

"Musical lives" (Cambridge University paperback). Bloom also served as editor of The

Cambridge Companion to Berlioz (Cambridge University paperback) and of Berlioz: Past,

Present, Future. The latter book, published in 2003 to mark the bicentennial of the com-

poser's birth, is a compendium of articles by various musical and cultural historians who

examine, among other things, Berlioz's own responses to music of his past, his interac-

tions with musical contemporaries, and views proffered about him in subsequent genera-

tions (Eastman Studies in Music/University of Rochester Press). More recently Bloom

produced Berlioz: Scenes from the Life and Work, published in March 2008 (Eastman

Studies in Music). Hugh Macdonald's Berlioz article from The New Grove Dictionary of

Music and Musicians (1980) was reprinted in The New Grove Early Romantic Masters 2

(Norton paperback, also including the 1980 Grove articles on Weber and Mendelssohn).

That article was retained, with revisions to the discussion of Berlioz's musical style, in the 2001 edition of Grove. In addition, Macdonald has served as editor for Selected

Letters of Berlioz, an engrossing volume of the composer's letters as translated by Roger

Nichols (Norton). Julian Rushton's The Music of Berlioz (2001) provides detailed consid-

eration of the composer's musical style and works (Oxford paperback). Brian Primmer's

The Berlioz Style offers another good discussion of the music (originally Oxford). The best

English translation of Berlioz's Memoirs is David Cairns's (Everyman's Library; also once

available as a Norton paperback). Still also available is the much older translation by

Ernest Newman (Dover paperback). Jacques Barzun's two-volume Berlioz and the Romantic

Century, first published in 1950, is a distinguished and still very important older study

(Columbia University Press). Barzun's own single-volume abridgment, Berlioz and his

Century, remains available as a University of Chicago paperback.

Sir Colin Davis's first recording of Berlioz's Te Deum, with the London Symphony Orchestra

and Chorus, tenor Franco Tagliavini, and the Wandsworth School Boys' Choir, dates from

1969. Still in the catalogue, this was issued originally as part of his historic recorded

Berlioz cycle of the 1960s and 70s (Philips). His more recent recording comes from live

performances given in 1998 in Dresden, with the Dresden Staatskapelle, tenor Stuart

Neill, and five Dresden-based choruses (Profil). John Nelson's recording, from February

2000, with the Orchestre de Paris, tenor Roberto Alagna, the Maitrise de Ste. -Marie

Antony, and the Paris Opera Children's Chorus, includes the two purely instrumental

movements (the Prelude and the "March for the Presentation of the Colors" mentioned

in the program note) typically omitted from performance (Virgin Classics), as did an

older, now discontinued recording led by Eliahu Inbal (Denon).

Marc Mandel

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58 &^ Guest Artists

Sir Colin Davis

Sir Colin Davis is President of the London Symphony Orchestra and Honorary Conductor of

the Dresden Staatskapelle. Last season Sir Colin recorded the Beethoven piano concertos with

Evgeny Kissin and the LSO, with which he recently recorded Tippett's A Child of Our Time. Also

last season he conducted Mozart's Requiem and Haydn's Creation in the LSO Belief Series and

in New York; recorded Elgar's Severn Suite with the Black Dyke Brass Band; led Elgar's The

Dream of Gerontius with the Boston Symphony Orchestra; conducted the Dresden Staatskapelle,

Netherlands Chamber Orchestra, and New York Philharmonic before returning to London for

a new work written for his 80th birthday, James MacMillan's St. John Passion; toured Europe

with the LSO; and led Berlioz's Requiem with the Orchestre National de France in St. Denis,

France. His work with young people included Mozart's Marriage of Figaro with RAM, a special

concert with a new children's orchestra in July, and a summer tour with the Gustav Mahler

Youth Orchestra. He finished the season with the Dresden Staatskapelle and a Prom concert

with the National Youth Orchestra of Great Britain. Sir Colin's current season began with the

Bayerischer Rundfunk and Royal Omani Symphony Orchestra in Oman, followed by a return

to London for Humperdinck's Hansel and Gretel at the Royal Opera House. He conducted

Verdi's Requiem and Berlioz's Te Deum with the LSO, Berlioz's Beatrice et Benedict with the

Orchestre National de France, and MacMillan's St. John Passion with the Royal Concertgebouw

in Amsterdam. Following concerts in the United States with the Cleveland Orchestra and the

Boston Symphony, he returns to the London Symphony Orchestra and in June celebrates the

50th anniversary of his first LSO concert. Sir Colin Davis has recorded widely with Philips,

WEEK 26 GUEST ARTISTS 59 w

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Benvenuto Cellini, Handel's Messiah, Beethoven's Mass in C, MacMillan's St. John Passion,

Mozart's Requiem, Sibelius's symphonies 1 and 4, and Tippett's A Child of Our Time. Sir Colin has been awarded international honors by Italy, France, Germany, and Finland, and was named a Member of the Order of the Companions of Honour in the Queen's Birthday Honours in

2001. His recording of Sibelius's Kullervo received a BBC Music Magazine Award in April 2007, and he was given the Yehudi Menuhin Prize for working with young people by the Queen of

Spain in 2003. During his career, Sir Colin conducted the BBC Scottish Orchestra, moved on to Sadler's Wells Opera House in 1959, and spent four years as chief conductor of the BBC

Symphony Orchestra from 1967 to 1971. He became music director of the Royal Opera House,

Covent Garden, in 1971 and principal guest conductor of the Boston Symphony Orchestra in

1972. He spent the years 1983 to 1992 with the Bavarian Radio Symphony Orchestra, was principal guest conductor of the New York Philharmonic from 1998 to 2003, and has been honorary conductor of the Dresden Staatskapelle since 1990. He was principal conductor of the LSO from 1995 to 2006. Sir Colin was born in Weybridge, Surrey, in 1927. Sir Colin Davis made his Boston Symphony Orchestra debut in February 1967, was the BSO's principal guest conductor from 1972 to 1984, and returned to the BSO podium (for the first time since 1984) in November 2003. Since then he has returned for subscription concerts in October 2005

(a program including Sir Michael Tippett's A Child of Our Time), January 2007 (Mozart's C minor piano concerto, K.491, with Imogen Cooper, plus music of Haydn, Vaughan Williams, and Beethoven), and January 2008 (a Mozart/Schubert program, followed a week later by

Elgar's The Dream of Gerontius).

Imogen Cooper

Pianist Imogen Cooper has established a reputation as one of the finest interpreters of the classical repertoire. During the current season she performs with the Philadelphia Orchestra and Simon Rattle, the Boston Symphony Orchestra and Colin Davis, and the NHK Symphony, and tours with the London Symphony Orchestra and Daniel Harding. She also continues her

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\&^ Hebrew SeniorLife www.hebrewseniorlife.org long-term relationships as both conductor and soloist with the Britten Sinfonia, undertaking an extensive tour of Australia. This season's solo, Lieder, and chamber recitals take her to the

United States, the United Kingdom, the Netherlands, Australia, and Japan. During 2008 and

2009, Imogen Cooper will be performing Schubert's solo works from the composer's last six years as part of London's International Piano Series. In 2007-08 she appeared with the London

Symphony Orchestra under Sir Colin Davis in New York, the Netherlands Radio Chamber

Orchestra with Frans Bruggen in Amsterdam, and performed that season's only solo piano recital at Tanglewood. Ms. Cooper has a wide-ranging international career, having appeared with the New York Philharmonic under Colin Davis and the Vienna Philharmonic under Simon

Rattle, the Royal Concertgebouw Orchestra of Amsterdam, the Gewandhaus Orchestra of

Leipzig, the Dresden Staatskapelle, and the NHK symphony orchestras; she has toured with the Camerata Salzburg and the Australian and Orpheus chamber orchestras. Ms. Cooper has performed with all the major British orchestras, including the Philharmonia with Christoph

Eschenbach and the London Philharmonic with Mark Elder at the BBC Proms. She has given recitals in New York, Chicago, Paris, Vienna, Rotterdam, and Prague, and at London's Wigmore and Queen Elizabeth halls. An advocate of new music, she premiered Thomas Ades's Traced

Overhead and Deirdre Gribbin's Decorated Skin at the Cheltenham International Festival, and collaborated with members of the Berlin Philharmonic in the premiere of the quintet Voices for Angels written by the ensemble's viola player, Brett Dean. She performs regularly with the

Belcea Quartet and regularly collaborates with baritone Wolfgang Holzmair, with whom she has performed in recital and made several recordings for Philips, most recently a disc of

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64 Lieder set to poems of Eichendorff. Ms. Cooper also performs and records with the cellist

Sonia Wieder-Atherton; they have recently released a two-disc set of Brahms and Bach

(RCA). Both Mr. Holzmair and Ms. Wieder-Atherton are featured in the box set "Imogen

Cooper and Friends," encompassing solo music, chamber works, and Lieder (Philips). Other recordings include Mozart concertos with the Northern Sinfonia (Avie) and a solo recital at the Wigmore Hall (Wigmore Live). Ms. Cooper received a CBE in the Queen's New Year

Honours in 2007 and an award from the Royal Philharmonic Society in 2008. Imogen Cooper made her Boston Symphony debut at Tanglewood in July 1991, subsequently making her BSO subscription series debut in March 1995 and then returning the following month at short notice (replacing Maria Tipo) for performances in Boston and at Carnegie Hall. Since then she has appeared with the BSO at Tanglewood in August 2006, in subscription concerts in

January 2007, and most recently in July 2007 at Tanglewood.

Matthew Polenzani

One of the most acclaimed lyric tenors of his generation, and winner of the Metropolitan

Opera's 2008 Beverly Sills Artist Award, Matthew Polenzani has been praised for his concert and operatic appearances on leading international stages. The 2004 Richard Tucker Award winner, Mr. Polenzani appears this season with the Metropolitan Opera in Don Giovanni and makes his Los Angeles Opera debut under James Conlon in Die Zauberflote. He returns to Lyric

Opera of Chicago for Die Entfuhrung aus dem Sera/7 with Sir Andrew Davis, appears at Oper

Frankfurt in Lucia di Lammermoor, and sings Die Zauberflote and Lucia di Lammermoor at Vienna

State Opera. Concert performances include La Damnation de Faust with David Zinman and the Saint Louis Symphony Orchestra, Berlioz's Te Deum with Sir Colin Davis and the Boston

Symphony Orchestra, Rossini's Stabat Mater with Riccardo Frizza and the Ensemble Orchestral de Paris at the Saint Denis Festival, and Don Giovanni at the Verbier Festival under Manfred

Honeck. He performs in recital with pianist Julius Drake at Verbier as well as in the Canary

Islands. Last season's performances at the Metropolitan Opera included La traviata opposite

Renee Fleming, Romeo et Juliette opposite Anna Netrebko, and Die Entfuhrung aus dem Sera/7

WEEK 26 GUEST ARTISTS 65 opposite Diana Damrau. He appeared in La traviota at Lyric Opera of Chicago, / Capuleti e /

Montecchi at the Paris Opera, and Rigoletto at the Opera Company of Philadelphia, and made

debuts at La Scala (La traviata) and the Salzburg Festival (Don Giovanni). Concert appearances

included Rossini's Stabat Mater with the Orchestre National de France, and solo recitals with

pianist Julius Drake under the auspices of Lincoln Center and the Philadelphia Chamber Music

Society. Highlights of his recent Metropolitan Opera seasons have included Die Zauberflote,

Les Troyens, Don Giovanni, Salome, II barbiere di Siviglia, Cos! fan tutte, Falstaff, and Die Meister-

singer von Nurnberg. He has appeared in L'elisir d'amore at the Vienna State Opera, Teatro San

Carlo, and Rome Opera; // barbiere di Siviglia at San Francisco Opera, New York City Opera,

and the Bayerische Staatsoper; // turco in Italia at the Rossini Festival of Pesaro; La traviata at

the Aix-en-Provence Festival and at the Teatro Comunale di Firenze; Lucia di Lammermoor at

the Opera-Bastille and Teatro Lirico di Cagliari; Cos! fan tutte at Covent Garden and Seattle

Opera; Don Giovanni with the Orchestra della Santa Cecilia and at the Vienna State Opera;

Lakme and Romeo et Juliette with Opera de Bordeaux, and Rigoletto with the Israel Philhar-

monic Orchestra. Mr. Polenzani has been acclaimed in symphonic appearances with the

Boston Symphony Orchestra led by James Levine and Rafael Fruhbeck de Burgos; with Lorin

Maazel and the New York Philharmonic, Michael Tilson Thomas and the San Francisco Sym-

phony, Pierre Boulez and the Chicago Symphony Orchestra, Wolfgang Sawallisch and the

Orchestra della Santa Cecilia, James Conlon and the Cincinnati Symphony, Sir Jeffrey Tate and

the Minnesota Orchestra, and David Zinman and the Aspen Festival Orchestra, among others.

He recently presented Janacek's The Diary of One Who Vanished at Zankel Hall with pianist

Richard Goode. Mr. Polenzani made his BSO debut in Berlioz's Romeo et Juliette in December

2004 in Boston and New York, subsequently appearing with the orchestra in Berlioz's Requiem

(April 2006), in Schoenberg's Gurrelieder and as Don Ottavio in a concert performance of Don

Giovanni (both in July 2006), and as Jaquino in concert performances of Beethoven's Fidelio

(March 2007), all under the direction of James Levine.

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66 Tanglewood Festival Chorus John Oliver, Conductor

Organized in the spring of 1970 by founding conductor John Oliver, the Tanglewood Festival

Chorus celebrated its thirty-fifth anniversary in 2005. This season with the BSO at Symphony

Hall, the chorus performs Brahms's Ein deutsches Requiem and concert performances of Verdi's

Simon Boccanegra with James Levine conducting, Orff's Carmino burana with Rafael Fruhbeck de Burgos, Messiaen's Trois Petites Liturgies de la Presence divine with Seiji Ozawa, Ives's

Symphony No. 4 with Alan Gilbert, and Berlioz's Te Deum with Sir Colin Davis. The latest additions to the chorus' discography, all drawn from recent live performances with James

Levine and the Boston Symphony Orchestra, were released on BSO Classics in February

2009— Brahms's Ein deutsches Requiem, Ravel's complete Daphnis and Chloe, and William

Bolcom's Eighth Symphony for chorus and orchestra, a BSO 125th anniversary commission.

In 2008 at Tanglewood, the chorus performed Berlioz's Les Troyens in concert with James

Levine and the BSO, Tchaikovsky's Eugene Onegin in concert with the Tanglewood Music

Center Orchestra and Sir Andrew Davis, and Kurt Weill's Rise and Fall of the City of Mahagonny in a fully staged TMC production; Mahler's Symphony No. 2 with Bernard Haitink, Beethoven's

Mass in C with Rafael Fruhbeck de Burgos, and Beethoven's Ninth Symphony with Christoph von Dohnanyi, as well as its annual Prelude Concert led by John Oliver in Seiji Ozawa Hall.

Following its 2007 Tanglewood season, the chorus joined Mr. Levine and the BSO on tour in

Europe for Berlioz's La Damnation de Faust in Lucerne, Essen, Paris, and London, also perform- ing an a cappella program of its own in Essen and Trier.

Made up of members who donate their services, and originally formed by John Oliver for per- formances at the BSO's summer home, the Tanglewood Festival Chorus is now the official chorus of the Boston Symphony Orchestra year-round, performing in Boston, New York, and at Tanglewood. The chorus has also performed with the BSO in Europe under Bernard Haitink and in the Far East under Seiji Ozawa. Besides the recent releases on BSO Classics, it can be heard on Boston Symphony recordings under Ozawa and Haitink, and on recordings with the

Boston Pops Orchestra under Keith Lockhart and John Williams, as well as on the sound- tracks to Clint Eastwood's Mystic River, Steven Spielberg's Saving Private Ryan, and John

Sayles's Silver City. In addition, members of the chorus have performed Beethoven's Ninth

Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann

WEEK 26 GUEST ARTISTS 67 Music Center in Philadelphia, and participated in a Saito Kinen Festival production of Britten's

Peter Grimes under Seiji Ozawa in Japan. In February 1998, singing from the General Assembly

Hall of the United Nations, the chorus represented the United States in the Opening Cere-

monies of the 1998 Winter Olympics when Mr. Ozawa led six choruses on five continents,

all linked by satellite, in Beethoven's Ode to Joy. The Tanglewood Festival Chorus performed

its Jordan Hall debut program at the New England Conservatory of Music in May 2004.

In addition to his work with the Tanglewood Festival Chorus, John Oliver was for many years

conductor of the MIT Chamber Chorus and MIT Concert Choir, and a senior lecturer in music

at MIT. Mr. Oliver founded the John Oliver Chorale in 1977; has appeared as guest conductor

with the New Japan Philharmonic and Berkshire Choral Institute; and has prepared the cho-

ruses for performances led by Andre Previn of Britten's Spring Symphony with the NHK Sym-

phony in Japan and of Brahms's Ein deutsches Requiem at Carnegie Hall. He made his Boston

Symphony conducting debut in August 1985.

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68 Tanglewood Festival Chorus John Oliver, Conductor

The Tanglewood Festival Chorus celebrated its 35th anniversary in the summer of 2005. In the

following list, * denotes membership of 35 years or more, * denotes membership of 25-34 years.

SOPRANOS

• Deborah Abel • Emily Anderson • Stephanie Bates • Michele Bergonzi Joy Emerson Brewer

Jeni Lynn Cameron • Catherine C. Cave Anna S. Choi • Saewon Lee Chun

Sarah Dorfman Daniello* • Christine Pacheco Duquette* • Mary A. V. Feldman* • Erin Fink

Stefanie J. Gallegos Karen Ginsburg • Bonnie Gleason • Beth Grzegorzewski • Kathy Ho

Eileen Huang • Polina Dimitrova Kehayova Nancy Kurtz • Barbara Abramoff Levy* •

Margaret D. Moore • Kieran Murray Anna Oppenheimer Laura Stanfield Prichard •

Livia M. Racz • Jessica Rucinski • Melanie Salisbury Johanna Schlegel • Joan P. Sherman* •

Kristyn M. Snyer Dana R. Sullivan • Jessica Ann Vadney Lisa Watkins • Alison L. Weaver

MEZZO-SOPRANOS

Kristen Anderson • Virginia Bailey • Martha A.R. Bewick • Betty Blanchard Blume • Lauren A. Boice

Abbe Dalton Clark • Elizabeth Clifford • Cypriana Slosky Coelho • Betsy L. Draper • Diane Droste • # Barbara Naidich Ehrmann • Paula Folkman Debra Swartz Foote • Dorrie Freedman* •

Irene Gilbride* Lianne Goodwin Jessica Hao • Yuko Hori • Betty Jenkins •

Evelyn Eshleman Kern* • Yoo-Kyung Kim Gale Livingston* • Louise-Marie Mennier

Antonia R. Nedder • FumikoOhara* Roslyn Pedlar Lori Salzman • Kathleen Hunkele Schardin •

Katherine M. Slater Ada Park Snider* • Amy Spound • Julie Steinhilber* • Amber R. Sumner

Michele C. Truhe • Cindy M. Vredeveld Christina Lillian Wallace Marguerite Weidknecht Stephannie Workman

TENORS

Matthew Allen Brad W. Amidon • James Barnswell • John C. Barr* Fredric Cheyette •

Stephen Chrzan • Tom Dinger Ron Efromson Carey D. Erdman • Keith Erskine • Len Giambrone

James E. Gleason • J. Stephen Groff* • David Halloran John W. Hickman* • Stanley G. Hudson* •

Timothy 0. Jarrett • James R. Kauffman Carl Kraenzel • Lance Levine • Ronald Lloyd

Henry Lussier* Glen Matheson • Mark Mulligan • David Norris* Kevin Parker

Dwight E. Porter* • Guy F. Pugh • Peter Pulsifer • Sean Santry Arend Sluis • Peter L. Smith

BASSES

Thomas Anderson • Nathan Black Daniel E. Brooks* • Nicholas A. Brown Matthew Collins •

Matthew E. Crawford Aram Demirjian • Michel Epsztein Jeff Foley • Mark Gianino Jim Gordon

Jay S. Gregory • Mark L. Haberman* • Marc J. Kaufman David M. Kilroy • Will Koffel

G.P. Paul Kowal • Timothy Lanagan* • Joseph E. Landry • Ryan M. Landry Nathan Lofton •

Christopher T Loschen • Eryk P. Nielsen Richard Oedel • Stephen H. Owades* • Michael Prichard

Peter Rothstein* • Jonathan Saxton • Karl Josef Schoellkopf • Kenneth D. Silber • Scott Street

Bradley Turner Thomas C. Wang • Terry L. Ward • Peter J. Wender* • Matthew Wright

Mark B. Rulison, Chorus Manager

Deborah De Laurell, Assistant Chorus Manager

Martin Amlin, Rehearsal Pianist

Jodi Goble, Rehearsal Pianist

WEEK 26 GUEST ARTISTS PALS Children's Chorus Alysoun Kegel, Artistic Director

PALS Children's Chorus is dedicated to the transformation of children into performing artists.

With singing at its core, and training in drama and dance, PALS indelibly changes the lives of

the children in its charge, building confidence, discipline, and leadership, and a passion for

music that will last a lifetime. The children of PALS have performed in dozens of collaborations

with ensembles including the Boston Symphony Orchestra, Boston Pops, Cantata Singers, Back

Bay Chorale, Boston Modern Orchestra Project, Boston Early Music Festival, and Boston Phil-

harmonic, in venues including Symphony Hall, Carnegie Hall, and Tanglewood. Founded in

OPERA BOSTON

Cutler Majestic Theatre May 1 , 3 & 5

Conducted by Gil Rose Directed and choreographed by Daniel Pelzig With Jennifer Aylmer, Patrick Miller, James Maddalena

Sung in English translation with projected titles

By Bedrich Smetana

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Visit us online for articles, study guides, and much more! WWW.operaboston.org

70 1990 at the W.H. Lincoln School, a public school in Brookline, Massachusetts, PALS has grown from one ensemble of sixteen children to four choruses serving more than 140 chil- dren. PALS founder Johanna Hill Simpson served as artistic director through 2006, when she retired; she remains involved as artistic director emerita. In 1999, PALS introduced the VOICES

Concert Series at Jordan Hall featuring newly commissioned works for treble choirs. In 2000,

PALS introduced the PALS Musical Philanthropy initiative, a series of benefit concerts that support important children's causes throughout the Greater Boston area. PALS is supported, in part, by grants from the Massachusetts Cultural Council and the Brookline Community

Foundation. This is PALS' second appearance with the BSO this season, following their participa- tion in Orff's Carmina burana under the direction of Rafael Fruhbeck de Burgos in November.

An accomplished conductor, music teacher, and soprano, Alysoun Kegel was appointed artis- tic director of PALS in spring 2008. From 2005 to 2007, Ms. Kegel served on the faculty of

Phillips Exeter Academy, where she conducted the women's chorus and the glee club. In

2002 she was named musical director of Whim N' Rhythm, Yale University's elite women's ensemble, and conducted performances in Japan, South Korea, Italy, France, and the UK. Ms.

Kegel has been influenced by her work as a singer under the direction of Simon Carrington and Robert Lehman. She was a charter member of the Yale Schola Cantorum, a twenty-four- voice ensemble specializing in early and contemporary music. In the Boston area, she has held positions as the staff soprano at Trinity Church, Copley Square, and at Church of the

Redeemer, Chestnut Hill. Ms. Kegel graduated from Yale with a B.A. in music and English and is currently pursuing a master's in Dalcroze Studies at the Longy School of Music.

PALS Children's Chorus

Donald Anthony • Juliette Boyer • Eleanor Bragg • Morgan Browning • Ella Bunnell •

Nina Cummins Tanisha DeLeon BM lie Dunn-McMartin Hannah Edwards Rebecca Edwards

Olivia Ericcson Emily Fitzgerald Elena Flammia Sylvie Florman Aidan Gent Sarah Hough

Suzanna Jack • Margaret James Daniel Levitov Susanna Maheras Alexandra Mamalakis

Kyranna Mamalakis • Jerilyn McLean • Emy Metzger • Frederick Metzger Zoe Petryk •

Mellissa Picker • Danya Potter • Regina Raphael • Carlos Rios • Jules Schellenberg •

Joseph Schiarizzi Brittany Shelton • Audrey Stitt • Keith Williams

WEEK 26 GUEST ARTISTS 71 '

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74 JAMES LEVINE, MUSIC DIRECTOR RAY AND MARIA STATA MUSIC DIRECTORSHIP, FULLY FUNDED IN PERPETUITY BERNARD HAITINK, CONDUCTOR EMERITUS LACROIX FAMILY FUND, FULLY FUNDED IN PERPETUITY

SEIJI OZAWA, MUSIC DIRECTOR LAUREATE

128th season, 2oo8-2oog

2008-2009 SEASON SUMMARY

WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA S 2008-2009 SUBSCRIPTION SEASON WEEK ANONYMOUS Songs from the original medieval "Carmina burana" manuscripts SEQUENTIA: ENSEMBLE FOR MEDIEVAL MUSIC, BENJAMIN BAGBY, director

BARTOK Suite from The Miraculous Mandarin, Op. 19 23

BEETHOVEN

Piano Concerto No. 3 in C minor, Op. 37 11A DANIEL BARENBOIM, piano

Symphony No. 4 in B-flat, Op. 60 2

Symphony No. 6 in F, Pastoral, Op. 68 8, UBS

Symphony No. 7 in A, Op. 92 TIB

Violin Concerto in D, Op. 61 24

ISABELLE FAUST, violin

BERLIOZ

Harold in Italy, Op. 16, for viola and orchestra STEVEN ANSELL, viola Symphonie fantastique, Op. 14 10 Te Deum, Op. 22 26 MATTHEW POLENZANI, tenor; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; PALS CHILDREN'S CHORUS, ALYSOUN KEGEL,

artistic director

BOULEZ

Notations I- IV

BRAHMS

Concerto in A minor for violin and cello, Op. 102 21

JANINE JANSEN, violin; ALISA WEILERSTEIN, cello

Ein deutsches Requiem, Op. 45 1 CHRISTINE SCHAFER, soprano; MICHAEL VOLLE, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Symphony No. 2 in D, Op. 73 15

Symphony No. 4 in E minor, Op. 98 20

Violin Concerto in D, Op. 77 6

LEONIDAS KAVAKOS, violin

WEEK 26 2008-2009 SEASON SUMMARY mmBr

EVENT SPONSOR AMERICAN EXPRESS V~

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Celebrating five world premieres and the culmination of Lisa Bielawa's tenure as Composer in Residence

LISA BlELAWA In medias res, Concerto for Orchestra*

GEOFFREY GORDON Shock Diamonds

THOMAS OBOE LEE "...bisbigliando..."* Ina Zdorovetchi, harp

ERICMOE Kick & Ride* Robert Schulz, drumset

LEWIS SPRATLAN A Summer's Day*

GIL ROSE, conductor * BMOP Commission

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www.bmop.or? BOSTON MODERN ORCHESTRA PROJECT BRAHMS (orch. RUBBRA) Variations and Fugue on a Theme by Handel

BRUCKNER

Symphony No. 7 in E 21

CARTER Horn Concerto 11B JAMES SOMMERVILLE, horn Interventions, for piano and orchestra (world premiere; BSO co-commission) 11A DANIEL BARENBOIM, piano

COPLAND Suite from Appalachian Spring 23

DEBUSSY (orch. BOSSER) Pet/re Suite 25

DVORAK

Cello Concerto in B minor, Op. 104 UBS ALBAN GERHARDT, cello

Symphony No. 6 in D, Op. 60 18

ELGAR

Cello Concerto in E minor, Op. 85 LYNN HARRELL, cello

GRIEG

Piano Concerto in A minor, Op. 16 23 NELSON FREIRE, piano

HANDEL Water Music 12

HAYDN

Cello Concerto No. 2 in D 12 PIETERWISPELWEY, cello

IVES Symphony No. 4 19 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

KIRCHNER The Forbidden (world premiere; BSO 125th anniversary commission)

LISZT

Piano Concerto No. 2 in A JEAN-YVES THIBAUDET, piano

MAHLER

Symphony No. 4 in G 24 JULIANEBANSE, soprano

Symphony No. 6 in A minor

MENDELSSOHN

Overture, The Hebrides (Fingal's Cave), Op. 26 13

Symphony No. 3 in A minor, Op. 56, Scottish 13

Symphony No. 4, in A, Op. 90, Italian 13

WEEK 26 2008-2009 SEASON SUMMARY ( 77 MESSIAEN ft exspecto resurrectionem mortuorum 5 If Trois Petites Liturgies de la Presence divine 10 Ski PETER SERKIN, piano; TAKASHI HARADA, ondes Martenot; WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor MOZART

"Bella mia fiamma," Concert aria, K.528 15 Chaconne from Idomeneo 12

"Oh smania! oh furie!,., D'Oreste, d'Aiace," from Idomeneo, Act III 15

Piano Concerto No. 18 in B-flat, K.456 20 RICHARD GOODE, piano

Piano Concerto No. 25 in C, K.503 26 IMOGEN COOPER, piano

Symphony No. 1 in E-flat, K.16 16

Symphony in G, K.45a, Lambach 16

Symphony No. 13 in F, K.112 16

Symphony No. 14 in A, K.114 16

Symphony No. 18 in F, K.130 16

Symphony No. 19 in E-flat, K.132 (with Andante slow movement) 16

Symphony No. 20 in D, K.133 16

Symphony No. 21 in A, K.134 16

Symphony No. 25 in G minor, K.183(173dB) 16

Symphony No. 39 in E-flat, K.543 17

Symphony No. 40 in G minor, K.550 17

Symphony No. 41 in C, K.551, Jupiter 17

NIELSEN Helios Overture, Op. 17 20

ORFF Carmina burana NORAH AMSELLEM, soprano; WILLIAM FERGUSON, tenor; CHRISTIAN GERHAHER, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; PALS CHILDREN'S CHORUS, ALYSOUN KEGEL,

artistic director

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78 PREVIN Owls (world premiere; BSO commission)

PROKOFIEV

Violin Concerto No. 2 in G minor, Op. 63 22 LISA BATIASHVILI, violin

RACHMANINOFF Rhapsody on a Theme of Paganini, Op. 43 19 STEPHEN HOUGH, piano

RAVEL Mother Goose Suite 22 Le Tombeau de Couperin 25

Valses nobles et sentimentales 18

SCHUBERT

Fantasie in F minor for piano four-hands, D.940 11A DANIEL BARENBOIM and JAMES LEVINE, piano

SCHULLER Where the Word Ends (world premiere; BSO 125th anniversary commission) 15 SCHUMANN

Piano Concerto in A minor, Op. 54 MAURIZIO POLLINI, piano

SIBELIUS The Bard, Op. 64 23 Night Ride and Sunrise, Op. 55 19

STRAUSS Symphonia domestica, Op. 53

STRAVINSKY

Petrushka (1911 version) 22

Pulcinella Suite 25

Le Sacre du printemps 11

Symphony in C 25 Violin Concerto 2

GIL SHAHAM, violin

TCHAIKOVSKY Manfred Symphony, Op. 58 9

Symphony No. 6 in B minor, Op. 74, Pathetique 4

VERDI

Simon Boccanegra, Opera in three acts and a prologue 14 BARBARA FRITTOLI, soprano (Amelia Grimaldi); MARCELLO GIORDANI, tenor (Gabriele Adorno); JOSE VAN DAM, bass-baritone (Simon Boccanegra); JAMES MORRIS, bass-baritone (Jacopo Fiesco, January 29 only);

RAYMOND ACETO, bass (Pietro, January 29; Fiesco, January 31 and February 3); NICOLA ALAIMO, baritone (Paolo Albiani); RICHARD BERNSTEIN, bass

(Pietro, January 31 and February 3); GARRETT SORENSON, tenor (A Captain); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

WEEK 26 2008-2009 SEASON SUMMARY CONDUCTORS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 2008-2009 SEASON WEEK

JAMES LEVINE, Music Director Opening Night, 1, 3, 4, 5, 11, 14, 15, 16, 17

SEIJI OZAWA, Music Director Laureate 10 Hi n HERBERT BLOMSTEDT 20 SIR COLIN DAVIS 26 CHARLES DUTOIT 22 RAFAEL FRUHBECK DE BURGOS 6,7 ALAN GILBERT 19

HANS GRAF 21

MAREKJANOWSKI 8, UBS JULIAN KUERTI* 9 BERNARD LABADIE 12 SUSANNA MALKKIt 25 KURTMASUR 13 YANNICKNEZET-SEGUIN 18 ANDRE PREVIN 2 SHI-YEON SUNG 23 MARKWIGGLESWORTHt 24

Replacing Gennady Rozhdestvensky

t replacing Yuri Temirkanov

617.267.5777 www.projectstep.org

Qj •— (D -5 !" c 2 p-2 « r Q_ 2. >• * 8 ...what [STEP] creates is great thinking, accomplished citizenry. E TO E S I LU Lockhart, '2 Keith Conductor, Boston Pops Orchestra "S « — « f * a. £

) SUPPORT IS GIVEN BY THE BOSTON

80 SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 2008-2009 SEASON WEEK

RAYMOND ACETO, bass 14 NICOLA ALAIMO, baritone 14 STEVEN ANSELL, viola 5 NORAH AMSELLEM, soprano 7 JULIANEBANSE, soprano 24 DANIEL BARENBOIM, piano 11A LISA BATIASHVILI, violin 22 RICHARD BERNSTEIN, bass* 14 (January 31, February 3) IMOGEN COOPER, piano 26 ISABELLE FAUST, violint 24 WILLIAM FERGUSON, tenor 7 NELSON FREIRE, piano 23 BARBARA FRITTOLI, soprano 14 CHRISTIAN GERHAHER, baritone 7

ALBAN GERHARDT, cello 8, UBS MARCELLO GIORDANI, tenor 14 RICHARD GOODE, piano 20 TAKASHI HARADA, ondes Martenot 10 LYNN HARRELL, cello 9 STEPHEN HOUGH, piano 19

JANINEJANSEN, violin 21

LEONIDAS KAVAKOS, violin 6 MAIJA KOVALEVSKA, soprano Opening Night JAMES MORRIS, bass-baritone 14 (January 29 only) MATTHEW POLENZANI, tenor 26 MAURIZIO POLLINI, piano 4

CHRISTINE SCHAFER, soprano 1 PETER SERKIN, piano 10

GIL SHAHAM, violin 2 JAMES SOMMERVILLE, horn 11B GARRETT SORENSON, tenor 14 JEAN-YVES THIBAUDET, piano 18 JOSE VAN DAM, bass-baritone 14

MICHAEL VOLLE, baritone 1 ALISA WEILERSTEIN, cello 21 PIETERWISPELWEY, cello 12

TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor 1, 7, 14, 19, 26 WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, 10 JOHN OLIVER, conductor

PALS CHILDREN'S CHORUS, ALYSOUN KEGEL, artistic director 7, 26 SEQUENTIA: ENSEMBLE FOR MEDIEVAL MUSIC, BENJAMIN BAGBY, director 7

Replacing Raymond Aceto, who replaced James Morris t replacing Julia Fischer

WEEK 26 2008-2009 SEASON SUMMARY ( 8l OPENING NIGHT

Wednesday, September 24, 2008, 6:30pm JAMES LEVINE, conductor MAIJA KOVALEVSKA, soprano

GLINKA Overture to Ruslan and Ludmila TCHAIKOVSKY Letter Scene from Eugene Onegin MUSSORGSKY (orch. RAVEL) Pictures at an Exhibition

UBS THANKSGIVING CONCERT

Friday, November 14, 2008, 8:30pm MAREK JANOWSKI, conductor ALBAN GERHARDT, cello

DVORAK Cello Concerto in B minor, Op. 104

BEETHOVEN Symphony No. 6 in F, Pastoral, Op. i

Give the gift of an exciting experience! I musical

Gift Certificates may be used toward the purchase of tickets, Symphony Shop merchandise, or at the Symphony Cafe.

To purchase, visit bso.org, the Symphony

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BOSTON SYMPHONY BOSTON ORCHESTRA POPS Tanglewood

82 THREE-CONCERT SERIES AT CARNEGIE HALL

Monday, October 20, 2008, 8pm JAMES LEVINE, conductor MAURIZIOPOLLINI, piano

TCHAIKOVSKY Symphony No. 6 in B minor, Op. 74, Pathetique KIRCHNER The Forbidden (New York premiere; BSO 125th anniversary commission)

SCHUMANN Piano Concerto in A minor, Op. 54

Thursday, December 11, 2008, 8pm

Celebrating Elliott Carter's 100th birthday

JAMES LEVINE, conductor (and piano in Schubert) DANIEL BARENBOIM, piano

SCHUBERT Fantasie in F minor for piano four-hands, D.940

BEETHOVEN Piano Concerto No. 3 in C minor, Op. 37 CARTER Interventions, for piano and orchestra (New York premiere; BSO co-commission) STRAVINSKY Le Sacre du printemps

Monday, February 9, 2009, 8pm JAMES LEVINE, conductor BARBARA FRITTOLI, soprano

MOZART "Bella mia fiamma," Concert aria, K.528

MOZART "Oh smania! oh furie!... D'Oreste, dAiace," from Idomeneo, Act II SCHULLER Where the Word Ends (New York premiere; BSO 125th anniversary commission)

BRAHMS Symphony No. 2 in D, Op. 73

NEW JERSEY PERFORMING ARTS CENTER, NEWARK, NEW JERSEY

Friday , Decem be r 12, 20 08 , 8pm JAMES LEVINE, conductor JAMES SOMMERVILLE, horn

BEETHOVEN Symphony No. 7 in A, Op. 92 CARTER Horn Concerto STRAVINSKY Le Sacre du printemps

WEEK 26 2008-2009 SEASON SUMMARY (83 wr

WMib-w? jjj* >4i : SSi Mi m

WORKS PERFORMED IN SYMPHONY HALL PRELUDE CONCERTS, CHAMBER MUSIC TEAS, AND COMMUNITY CONCERTS DURING THE 2008-2009 SUBSCRIPTION SEASON WEEK BACH

Sonata No. 3 in G minor for cello and harpsichord, BWV 1029 24

Sonata No. 5 in E minor for flute and continuo, BWV 1034 24

BEETHOVEN

String Quartet No. 4 in C minor, Op. 18, No. 4 18/19

String Quartet No. 7 in F, Op. 59, No. 1 20/21

CARTER Woodwind Quintet

D'RIVERA Aires Tropicales 22

DVORAK

Quintet in G for two violins, viola, cello, and double bass, Op. 77 5

Terzetto in C for two violins and viola, Op. 74 18/19

FIDDLE TUNES (various)

FINE

Partita for Woodwind Quintet

HAAS

String Quartet No. 3, Op. 15 16

HANDEL

Sonata No. 4 in D for violin and continuo, Op. 1, No. 13 24

HAYDN

String Trio in G, Op. 53, No. 1 (Hob. XVI:40) 18/19

MARTIN

Rhapsodie for two violins, two violas, and double bass

MILHAUD

"Sorocaba" and "Ipanema" from Saudades de Brasil, Op. 67 (arr. David Bussick) 22

PIAZZOLLA

Four, for Tango 20/21

Libertango (arr. Jeff Scott for woodwind quintet) 22

Oblivion (arr. Jeff Scott for woodwind quintet) 22

PREVIN

Trio for Oboe, Bassoon, and Piano

REVUELTAS String Quartet No. 3 20/21

SCHUBERT

String Quartet in A minor, D.804, Rosamunde 16

84 SUK

Meditation on an Old Czech Hymn, "St. Wenceslas" 16

TELEMANN

"Paris" Quartet No. 6 in E minor for flute, violin, cello, and harpsichord 24

TOUSSAINT Mambo 22

PERFORMERS IN SYMPHONY HALL PRELUDE CONCERTS, CHAMBER MUSIC TEAS, ANC COMMUNITY CONCERTS DURING THE 2008-2009 SUBSCRIPTION SEASON WEEK

ROBERT BARNES, viola 18/19

GLEN CHERRY, violin 5 CLASSICAL TANGENT 8 (BONNIE BEWICK, JULIANNE LEE, and CAROLINE PLISZKA, violins; MICKEY KATZ, cello; BENJAMIN LEVY, double bass; KEN BEWICK, guitar; AZIZ D. BARNARD LUCE, percussion; JOHN McGANN, mandolin; with FRANCESCA BASS, ZOE DALE, and RUBY MERCURE, violins)

ELI EPSTEIN, horn 3 ADAM ESBENSEN, cello 5 RACHEL FAGERBURG, viola 5 TIMOTHY GENIS, percussion 22 JOHN GIBBONS, harpsichord 24 REBECCA GITTER, viola 20/21 HAWTHORNE STRING QUARTET 16 (RONAN LEFKOWITZ and SI-JING HUANG, violins; MARK LUDWIG, viola; SATO KNUDSEN, cello) JASON HOROWITZ, violin 20/21 BO-YOUP HWANG, violin 24 MIHAILJOJATU, cello 18/19 ELITAKANG, violin 20/21 JULIANNE LEE, violin 18/19 LUCIA LIN, violin 5 THOMAS MARTIN, clarinet 3,22 KAZUKO MATSUSAKA, viola 5 JONATHAN MENKIS, horn 22

CYNTHIA MEYERS, flute and piccolo 3, 22, 24 JONATHAN MILLER, cello 24 SUZANNE NELSEN, bassoon 22 RICHARD RANTI, bassoon 3 TODD SEEBER, double bass 5 ROBERT SHEENA, oboe and English horn 22 ALEXANDER VELINZON, violin 18/19 KEISUKE WAKAO, oboe 3 AYAKO YODA, piano 3 OWEN YOUNG, cello 20/21

WEEK 26 2008-2009 SEASON SUMMARY (85 ASSISTED LIVING Welcome To Living Well

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h THE BOSTON CONSERVATORY MUSIC DANCE THEATER The Boston Conservatory Wind Ensemble Eric Hewitt, conductor

April 28, 2009 Premiering Marti Epstein's new piece created especially for Robert Sheena, English horn, and The Boston Conservatory Wind Ensemble.

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86 BOSTON SYMPHONY CHAMBER PLAYERS 2008-2009 Subscription Season

Four Sunday afternoons at 3 p.m. in Jordan Hall at New England Conservatory of Music

November 2, 2008

MOZART Divertimento No. 12 in E-flat, K.252, for winds

M. HAYDN Divertimento in D for horn, viola, and double bass VILLA-LOBOS Quintette en forme de choros, for wind quintet

BRAHMS String Sextet No. 1 in B-flat, Op. 18

January 11, 2009

ROSSINI String Sonata No. 4 in B-flat DAHL Allegro and arioso, for wind quintet MACKEY Never Sing Before Breakfast, for wind quintet

BRAHMS String Quintet No. 1 in F, Op. 88

March 22, 2009 with ANDRE PREVIN, piano

PREVIN Trio for Oboe, Bassoon, and Piano

DEBUSSY Sonata for flute, viola, and harp POULENC Sextet for piano and winds

BRAHMS String Quintet No. 2 in G, Op. 111

A pril 26, 2009 with WILLIAM BOLCOM, piano JOAN MORRIS, mezzo-soprano

KNUSSEN Alleluya Nativitas (Perotin), for wind quintet

PERLE Monody II, for double bass

BOLCOM Minicabs, for voice and piano Selections from Cabaret Songs Graceful Ghost Concert Variation

BRAHMS String Sextet No. 2 in G, Op. 36

ARTICLES/FEATURES PRINTED IN THE BOSTON SYMPHONY ORCHESTRA PROGRAM BOOKS DURING THE 2008-2009 SUBSCRIPTION SEASON WEEK

A Brief History of the Boston Symphony Orchestra Opening Night, 1, 21

A Brief History of Symphony Hall Opening Night, 6

In Defense of Mahler's Music—A 1925 Letter from 3 Aaron Copland to the Editor of the New York Times The Byronic Hero's Musical Sway, by Thomas May 4,8,9 Olivier Messiaen: A Centennial Tribute, by Andrew Shenton 5,10 Appreciating Felix Mendelssohn, by Michael Steinberg 12,13 The First American Performance of Simon Boccanegra 14 (Review by W.J. Henderson from the New York Sun, 1932) Mozart's Symphonic Legacy, by Thomas May 15,16,17 Casts of Character: The Symphony Statues, by Caroline Taylor 18,20 A "Multiplicity of Musics": The Premiere of 19

Charles Ives's Symphony No. 4, by Robert Kirzinger

WEEK 26 2008-2009 SEASON SUMMARY (87 \h

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tei (617) 524-3900 fax (617) 390-0043 www.idcboston.com Great Benefactors

In the building of his new symphony for Boston, the BSO's founder and first benefactor, Henry Lee Higginson,

knew that ticket revenues could never fully cover the costs of running a great orchestra. From 1881 to 1918

Higginson covered the orchestra's annual deficits with personal donations that exceeded $1 million. The Boston

Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO

is $1 million or more with permanent recognition as Great Benefactors of this great orchestra. For more informa-

tion, please contact Elizabeth P. Roberts, Campaign Director/Director of Major Gifts, at 617-638-9269.

TEN MILLION AND ABOVE

Mr. Julian Cohen t . Fidelity Investments • The Linde Family Foundation

Ray and Maria Stata Anonymous

SEVEN AND ONE HALF MILLION

Mr. John F. Cogan, Jr. and Ms. Mary L. Cornille

FIVE MILLION

Paul and Catherine Buttenwieser Germeshausen Foundation • NEC Corporation • Stephen and Dorothy Weber

TWO AND ONE HALF MILLION

Bank of America Mr. and Mrs. J. P. Barger • Mr. and Mrs. George D. Behrakis •

Peter and Anne Brooke • Eleanor L. Campbell and Levin H. Campbell •

Commonwealth of Massachusetts • Cynthia and Oliver Curme/The Lost & Foundation, Inc.

Alan J. and Suzanne W. Dworsky • EMC Corporation Jane and Jack Fitzpatrick •

• Susan Morse Hilles Trust • National Endowment for the Arts • William and Lia Poorvu

Miriam and Sidney Stoneman t Estate of Elizabeth B. Storer • Anonymous (2)

ONE MILLION

American Airlines • Mr. and Mrs. Harlan E. Anderson • Dorothy and David B. Arnold, Jr. •

AT&T • Gabriella and Leo Beranek • Mr. William I. Bernell • George and Roberta Berry

• Alan S. and Lorraine D. Bressler • Jan Brett and Joseph Hearne • Chiles Foundation

• Mr. t and Mrs. William H. Congleton Country Curtains • John and Diddy Cullinane

Lewis S. and Edith L. Dabney Mr. and Mrs. Stanton W. Davis t .

Estate of Mrs. Pierre de Beaumont Estate of Elizabeth B. Ely John P. II and Nancy S. t Eustis

• The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Shirley and Richard Fennell

• Estate of Verna Fine • Estate of Anna E. Finnerty • The Ann and Gordon Getty Foundation

Estate of Marie L. Gillet • The Gillette Company Sophia and Bernard Gordon

. Mrs. Donald C. Heath t • Estate of Francis Lee Higginson Major Henry Lee Higginson t

90 Estate of Edith C. Howie • John Hancock Financial Services •

Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • Estate of Richard L. Kaye

George H. and Nancy D. Kidder Harvey Chet t and Farla Krentzman •

The Kresge Foundation • Liz and George Krupp • Bill t and Barbara Leith

Liberty Mutual Foundation, Inc. Estates of John D. and Vera M. MacDonald •

Nancy Lurie Marks Family Foundation Andrew W. Mellon Foundation Kate and Al Merck

Mr. and Mrs. Nathan R. Miller • Mr. and Mrs. Paul M. Montrone •

The Richard P. and Claire W. Morse Foundation William Inglis Morse Trust •

Mrs. Robert B. Newman • Mrs. Mischa Nieland and Dr. Michael L. Nieland •

Megan and Robert O'Block • Mr. Norio Ohga Carol and Joe Reich

Mr. and Mrs. Dwight P. Robinson, Jr. t . Susan and Dan Rothenberg

Estate of Wilhemina C. Sandwen • Dr. Raymond and Hannah H. Schneider •

• Carl Schoenhof Family Arthur I. Segel and Patti B. Saris Kristin and Roger Servison

Ruth and Carl J. Shapiro Miriam Shaw Fund • Sony Corporation of America •

State Street Corporation Thomas G. Sternberg Dr. Nathan B. and Anne P. Talbot t .

Caroline and James Taylor Diana O. Tottenham • The Wallace Foundation •

Roberta and Stephen R. Weiner The Helen F. Whitaker Fund • Mr. and Mrs. John Williams

Estate of Mrs. Helen Zimbler • Anonymous (8)

t Deceased

THE BSO ONLINE

watch tt listen 4)) explore &

BUY TICKETS • SUBSCRIBE • DONATE

PROGRAM LISTINGS • SPECIAL EVENTS

DOWNLOAD PODCASTS • BIOGRAPHIES

HISTORICAL FACTS • NEW AMENITIES VISIT US AT BSO.ORG

WEEK 26 GREAT BENEFACTORS 91 Longv bar°que School of Music & 2. MAT T E R S «

THeveNice - DWSDEN' CONNECTION

THE INTERNATIONAL upcoming concert Rashi Auditorium, Newton Corner BAROQUE INSTITUTE April 26, 7:30pm - Masters of Cantabile AT LONGY Puccini: Preludio Sinfonico Puccini: O Mio Babbino Caro from Gianni Schicchi with Jayne West, soprano July 24 - August 2, 2009 Mahler: Symphony No. 4 with Jayne West, soprano

ENSEMBLES - LECTUfc.ES NEWTON SYMPHONY DANCE - OFXHESTPsA ORCHESTRA CONCEPTS - MASTER CLKSSiS James m. Orent Music Director Longy School of Music

To purchase tickets or make a contribution, please visit One Follen Street I Cambridge, MA 617.876.0956

www.newtonsymphony.org or call 617-965-2555 www.longy.edu w WOODSTOCK Est. 1929

Creating and preserving wealth for more than seventy-five years

A wealth management firm providing highly personalized financial counseling and investment services to high net-worth individuals and their families, trustees, corporations and philanthropic institutions.

For more information, please contact Paul D. Simpson at 617.896.8531

11 School Street, Boston, 02108 617.227.0600 www.woodstockcorp.com psimpson(»woodstock.corp.ccir. MA [ | |

92 Q-^ Foundation Grantors

Foundation grants make possible a variety of Boston Symphony Orchestra activities. In particular, founda-

tion support is vital to sustaining the BSO's educational mission, from youth education and community

outreach initiatives throughout the Greater Boston area to professional training for promising young musi-

cians at the Tanglewood Music Center. Gifts from foundations nationwide help bridge the gap between

ticket revenue and the cost of presenting a full BSO season and also fund special projects, concert pro-

grams, new music for the Boston Pops, and the BSO archives. In addition, endowment and capital gifts

from foundations help ensure the future of all these activities, as well as supporting the maintenance of

the orchestra's concert facilities. The Boston Symphony Orchestra gratefully acknowledges those founda-

tions that have helped it to achieve its multifaceted mission.

The following foundations made grants of $1,000 or more to the BSO between September 7, 2007, and

August 31, 2008.

For more information, contact Ryan Losey, Director of Foundation and Government Relations, at (617) 638-9462.

$1,000,000 AND ABOVE

The Wallace Foundation The Andrew W. Mellon Foundation

$500,000 TO $999,999

Massachusetts Cultural Facilities Fund

$100,000 TO $499,999

Chiles Foundation Miriam Shaw Fund • Anonymous

$50,000 TO $99,999

Fromm Music Foundation • The Ann and Gordon Getty Foundation

Grew Family Charitable Foundation The Geoffrey C. Hughes Foundation

MetLife Foundation • Yawkey Foundation II

$25,000 TO $49,999

The Aaron Copland Fund for Music • Associated Grant Makers of Massachusetts

Grammy Foundation • Kingsbury Road Charitable Foundation

The Lowell Institute • Newman's Own Foundation • The Billy Rose Foundation

The William E. and Bertha E. Schrafft Charitable Trust •

The Richard and Susan Smith Family Foundation • Stratford Foundation

Edwin S. Webster Foundation • Anonymous

WEEK 26 FOUNDATION GRANTORS 93 Receiving rave reviews since 1838.

BOSTON SYMPHON ORCHESTRA _-. BSO PODCASTS

Explore the Boston Symphony Orchestra's Concert Preview Podcasts!

Hear musical examples, download program notes, and learn more about each piece that the BSO performs. Preview Podcasts are available for each BSO concert this season.

We hope you find these previews as well as the exclusive videos to be educational, insightful and entertaining. ^

UBS is the exclusive season sponsor of the Boston Symphony Orchestra, and proud sponsor of the BSO Podcasts.

Visit bso.org to learn about your upcoming performance. Also available on iTunes. Presented by:

94 $10,000 TO $24,999

Argosy Foundation ARSC Foundation • The ASCAP Foundation

• Clipper Ship Foundation • Elizabeth Taylor Fessenden Foundation

The French American Fund for Contemporary Music • Germeshausen Foundation •

Halfway Rock Foundation • The Roger and Myrna Landay Charitable Foundation

June Rockwell Levy Foundation • Linde Family Foundation • E. Nakamichi Foundation

Thomas A. Pappas Charitable Foundation Proctor and Gamble Foundation

Alice Ward Fund of the Rhode Island Foundation Saquish Foundation

State Street Corporation and Foundation Abbot and Dorothy H. Stevens Foundation

The Kurt Weill Foundation for Music • Anonymous (2)

$5,000 to $9,999

The Anthony Advocate Foundation The Arts Federation Adelaide Breed Bayrd Foundation •

Home Family Foundation • Irene E. and George A. Davis Foundation •

Demoulas Foundation • The Roy A. Hunt Foundation Abraham Perlman Foundation

Olive Higgins Prouty Foundation Red Sox Foundation • Paul Sacher Foundation

$2,500 to $4,999

Brookline Youth Concerts Fund • Jackson and Irene Golden 1989 Charitable Trust

Elizabeth Grant Trust • Elizabeth Grant Fund • Clayton F. and Ruth L. Hawkridge Foundation

The Hoche-Scofield Foundation • The Seth Sprague Educational and Charitable Foundation • Anonymous

$1,000 to $2,499

The Lassor & Fanny Agoos Charity Fund • The American Scandinavian Foundation •

The Paul and Edith Babson Foundation • Frank M. Barnard Foundation •

Orville W. Forte Charitable Foundation • The Nancy Foss Heath and Richard B. Heath Foundation

Max and Sophie Mydans Foundation • Jean Nichols Charitable Trust Oxford Fund

The Stearns Charitable Trust Edward A. Taft Trust • The Charles Irwin Travelli Fund

WEEK 26 FOUNDATION GRANTORS 95 Q^ BSO Major Corporate Sponsors 2008-og Season

Boston Symphony Orchestra and Symphony Hall major corporate sponsorships reflect the increasing

importance of alliance between business and the arts. The BSO is honored to be associated with the following companies and gratefully acknowledges their partnership. For information regarding BSO,

Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Sponsorships, at (617) 638-9279 or at [email protected].

UBS

UBS is proud to be the exclusive season sponsor of the Boston Symphony Orchestra.

The BSO demonstrates the highest level of musical excellence where musicians dis-

play an unsurpassed level of attention to detail and collaboration. This partnership

reflects our philosophy of working collaboratively with clients to deliver customized

solutions to help them pursue their financial goals.

In addition to the BSO, UBS currently sponsors seven outstanding symphony orches-

tras in the U.S., including The Philadelphia Orchestra, The Cleveland Orchestra, and Stephen H. Brown H the Los Angeles Philharmonic. UBS also sponsors the London Symphony Orchestra Managing Director abroad and important music festivals such as the Ravinia Festival in Chicago. UBS Northeast Regional has a long history of supporting the art of orchestral music and we view these part- Director nerships as a reflection of our ongoing commitment to the communities in which we

live and work.

We are looking forward to an extraordinary season at Symphony Hall and we hope

you will continue to share the experience with your friends and family.

EMC2 8 where information lives

EMC is pleased to continue our longstanding partnership with the Boston Symphony Orchestra. We are committed to helping preserve the wonderful musical heritage

of the BSO so that it can continue to enrich the lives of listeners and create a new

Joe Tucci generation of music lovers.

Chairman, President, and CEO

96 NEW ENGLAND COFFEE Family Coffee Roasters Since 1916

New England Coffee is delighted to be the Official Coffee of the Boston Symphony

Orchestra and the Boston Pops. As a family owned business for over 90 years, we

share a commitment to quality and tradition that the BSO has championed for over

125 years. With these common values and a dedication to fine coffee and fine

Jim Kaloyanides music, we anticipate a long friendship between two of Boston's greatest traditions.

President and Chief

Operating Officer

COPLEY PLAZA BOSTON

The Fairmont Copley Plaza Boston together with Fairmont Hotels & Resorts is proud

to be the official hotel of the BSO. We look forward to many years of supporting this

Paul Tormey wonderful organization. For more than a century Fairmont Hotels & Resorts and the BSO have graced their communities with timeless elegance and enriching Regional Vice President experiences. The BSO is a New England tradition and like The Fairmont Copley and General Manager Plaza, a symbol of Boston's rich tradition and heritage.

OMMONWEALTH WORLDWIDE CHAUFFEURED TRANSPORTATION

Commonwealth Worldwide Chauffeured Transportation is proud to be the Official

Chauffeured Transportation of the Boston Symphony Orchestra and Boston Pops.

The BSO has delighted and enriched the Boston community for over a century and Dawson Rutter we are excited to be a part of such a rich heritage. We look forward to celebrating President and CEO our relationship with the BSO, Boston Pops, and Tanglewood for many years to come.

SHREVE,CRUMP&LOW The Gem of Boston Since 1796™

From one Boston institution to another, Shreve, Crump & Low America's oldest

jeweler is proud to be the official jeweler of the Boston Symphony Orchestra.

David Walker Nothing is more important to Boston than its history. With 211 years of expertise

CEO in fine jewelry and 127 years of expertise in creating beautiful music, Boston has

never looked or sounded better.

WEEK 26 MAJOR CORPORATE SPONSORS 97 Symphony Hall Exit Plan

MASSACHUSETTS AVENUE

* /fv X c ^_ o z ^ > 2 > -j H O z

Ml 1 \ 1ST BALCONY CD *> "T o 13 >°r> H < AND r- O > o 1- z / 2ND BALCONY > 5 m < J l/>

.1. * 1 ^

IIIIII f MASSACHUSETTS AVENUE

IN CASE OF EMERGENCY

Follow any lighted exit sign to street. Do not use elevators. Walk, do not run.

98 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378).

The Boston Symphony performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony

Hall, Boston, MA 02115.

The BSO's web site (www.bso.org) provides information on all of the orchestra's activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction.

The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the

Symphony Hall West Entrance on Huntington Avenue.

In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions.

For Symphony Hall rental information, call (617) 638-9240, or write the Director of Event Services, Symphony

Hall, Boston, MA 02115.

The Box Office is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens

Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony sub- scription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge.

To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "SymphonyCharge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (until 4 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $5.50 for each ticket ordered by phone or online.

Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255.

For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289.

Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons.

In consideration of our patrons and artists, children four years old or younger will not be admitted to Boston Symphony Orchestra concerts.

Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-

9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat

WEEK 26 SYMPHONY HALL INFORMATION (99 available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on

Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the

Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on

Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets avail-

able for Friday or Saturday evenings.

Please note that smoking is not permitted anywhere in Symphony Hall.

Camera and Recording equipment may not be brought into Symphony Hall during concerts.

Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street.

First aid facilities for both men and women are available. On-call physicians attending concerts should leave their

names and seat locations at the Cohen Wing entrance on Huntington Avenue.

Parking: The Prudential Center Garage and the Symphony Garage on Westland Avenue offer discounted parking

to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special

benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts.

For more information, call the Subscription Office at (617) 266-7575.

Elevators are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of

Symphony Hall, and in the Cohen Wing.

Ladies' rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal-

cony, audience-left, and in the Cohen Wing.

Men's rooms are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on

the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing.

Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-

Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons.

Lounges and Bar Service: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and

the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For

the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time.

Boston Symphony Broadcasts: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live

in the Boston area by WGBH 89.7 FM. Saturday-evening concerts are broadcast live by WCRB 99.5 FM.

BSO Friends: The Friends are donors to the Boston Symphony Orchestra Annual Funds. Friends receive priority

ticket information and other benefits depending on their level of giving. For information, please call the Friends

of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office,

Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of

address in our files.

Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of

the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information,

please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected].

The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open

Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances, including Open Rehearsals, through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap

Robe, calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop

also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also

available online at www.bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383.

TOO INSURANCE INVESTMENTS RETIREMENT

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With each wave of Assistant Conductor Shi-Yeon Sung's baton, Timpanist Tim Genis responds with

a resounding beat. Their rhythm keeps each musician grounded, essentially making them the

heartbeat for the entire orchestra. It is this dedication to collaboration that makes UBS proud to

partner with the Boston Symphony Orchestra. We believe that working closely with our clients

helps us provide financial advice and solutions to help them pursue their goals. It's at the heart of

how we get to "You & Us."

UBS is the Proud Season Sponsor of the Boston Symphony Orchestra.

You & Us

' UBS 2009. All rights reserved.